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Millinery 
Course 



NATIONAL MILLINERY COMPANY 




Class 
Book. 



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Copyright]^", 



COPyRtGHT DEPOSIT. 



Home Millinery Course 



A 
THOROUGH, PRACTICAL 

AND COMPLETE 
SERIES OF LESSONS 



Copyrighted by 

NATIONAL MILLINERY COMPANY 

// 



A 






"Costly Thy Habits, As Thy Purse Can Buy, 
But Not Expressed Tn Fancy, 
Rich, Not Gaudy." 

— Shakespeare 



CI. A 24 5 7 6!? 
AUa 23 1909 



mto^ 



— 2'— 



INTRODUCTION. 

In preparing this series of lessons, the writers have en- 
deavored to imbue the mind with the fundamental principles of 
millinery taken as an art. 

Too little time has heretofore been given to this most im- 
portant part of a woman's wardrobe, the headdress. 

Women have studied the dress because upon this depended 
the setting off of the graceful lines and curves of the figure, 
with a total disregard for making a suitable setting for the beau- 
tiful lines of the face. The importance of making a study of 
this feature of a woman's dress cannot be over-estimated, as 
nothing adds to or detracts from a woman's charms as does the 
exercising of taste in this essential. 

It is with much satisfaction, however, that we note a rapid 
advancement along these lines within the past few years, with 
the result that two-thirds of the women, who a short time ago 
depended entirely upon the advice of their milliner, are at the 
present time selecting and trimming their own hats. 

This is not confined alone to any particular class of people 
but is being done by all with surprisingly satisfactory results. It 
should not be supposed, however, that this can be accomplished 
without first acquiring the necessary knowledge along the line 
of millinery, as without the fundamental principles, a woman is 
but limiting her possibilities and stunting her otherwise artistic 
nature. 

It has been truly said that "The lack of artistic perception 
and appreciation is not inherent, but merely due to a neglect of 
cultivation and development of the sense of beauty," and no 
truer example can be given of this than the one we have the 
pleasure of presenting to you. 

We have endeavored to confine these lessons not alone to 
any particular season, but to have them cover as much ground 
as possible with the idea of promoting and stimulating the artistic 
temperament and developing that creative element in the woman 
according to the frugal laws ov economy. 

The subjects treated of in these lessons are those that present 
themselves day after day-Mn practical . millinery business and 
should be carefully and thoroughly ifiastered before attempting 
to emulate and compete with the experienced milliner. 

We have aimed tof make "the courseHnteresting by means of 
illustrations and example's^ 'that "its stirdy may be pursued with 
willing rather than enforced application, and that it may be con- 
tinued with such energy and precision as to give to each of our 
pupils recognition within the ranks of the finished artist. 



—3— 



SELECTING THE HAT. 

Too much cannot be said concerning the selection of the 
hat, as the most artistically trimmed one fails in its mission if 
unbecoming to the wearer. 

It has ever been the custom of the American woman in 
buying an article, to buy it because she had seen it worn to good 
efifect by another and she deluded herself with the idea that if 
it was becoming to that person it would also be to her. Nothing 
is farther from the truth. As a matter of fact she ignores the 
two essential points in buying millinery, namely : that a hat to 
be in good style must be becoming to the wearer, and that no 
two faces are symmetrically the same, therefore must be reckoned 
with along different lines. 

It is an outrage to good taste and judgment the hats one 
meets with on the streets through this carelessness or lack of 
taste. How often do we see people neatly and appropriately 
dressed except for an unbecoming hat which has been fashioned 
with apparently no thought or regard for the features and lines 
of the face. This is difficult to understand unless it is in fact 
due to their being able to see themselves only as a reflection of 
the other person wearing the article. Be the reason what it may, 
it should be overcome by giving more thought and study to the 
subject. 

A woman should, when selecting her hat, look at it from 
both sides, and from the back as well as the front, remembering 
that the most critical eye is apt to see it from the back. She 
should also give due regard for the way it settles down upon the 
head as no person can fail to look ugly in a hat that shows but 
little of the brow or temples. She should remember that the 
woman combing her hair straight back from the forehead can- 
not wear and look well in the hat made to be worn with the 
fluffy or wavy hair, also that the hair worn high or low makes 
a vast difference in the way the hat sets and looks upon the head. 

It is easy to note that while an oval or round face looks 
well under certain shapes, the same thing used to grace a square 
cut one would be not only unbecoming, but have the effect of 
accentuating the already prominent lines. 



It is a very common thing for a woman of mature years to 
don a hat made for a much younger person, supposedly with the 
idea of making herself look young, but with the opposite result, 
that of calling attention to herself and making the mature lines 
more prominent. 

The collar has also a great deal to do, indirectly, with the 
looks of the hat, allowing the face to appear long or short ac- 
cording to the height and style of the same. 

Colors should also play a large part in the selection of the 
hat, varying according to the age, color of the eyes and com- 
plexion of the wearer. 

Economy in woman is said to be a virtue and in its effects 
upon dress it might well be termed as such, as to dress well on 
a small amount of money is an art many a woman has been 
compelled to learn. A great many people, however, have a false 
idea of economy, thinking of it only as a means of saving money 
at the time, where in reality their very efforts are turned into 
extravagance by this false idea. It is far more economical to 
put money into good material when it will last twice as long and 
look much better than the same amount put twice into cheap 
materials. 

It is also more economical and in much better taste to have 
one good hat, well made and of good material than a dozen 
poorly made hats of poor material. If you cannot afford good 
velvet for your hat get a good grade of ribbon, this can at any 
rate be used a second time. In short do not attempt to make an 
elaborate thing with cheap imitations. 

If but one hat can be had during the season, cater not to 
fads but rather invest your money in an ordinary shape, of good 
straw or other material that can be properly used for all occa- 
sions this season and readily altered to the prevailing shapes of 
next. Also if but one hat can be indulged in, let it be of black 
or some other soft, pretty shade of simple and modest design 
that will attract attention only for its neatness and simplicity. 
If a touch of color is desired, let it be artistically added in the 
trimming. A hat of loud or elaborate coloring and design is 
very likely sometime throughout the season to be found clashing 
with the pattern or coloring of the gown. We would not be 
misunderstood to mean that the hat should always be the color 
of the dress, as this is unnecessary ; they should not however, 
be out of harmony with each other, and such trimming as is used 
should match the gown if possible. 




When selecting a hat, 
get one that will look 
well over the hair, but 
first comb the hair to be 
becoming to the face, as 
it will be difficult to re- 
arrange your hair when 
desiring to remove the 
hat. 

We would, in short, 
urge a certain amount of 
originality in the selec- 
tion and trimming of the hat, however, not to the extent of 
freakishness, but with due regard for the lines of the face, color 
of the complexion and eyes, and dress of the neck and hair. 

We give herein, a number of rules which are safe to follow 
with a possible few exceptions: 

Never attempt to make, trim or buy a hat, without first 
studying the styles for the season. These styles are published 
in the various magazines and papers for this purpose and will 
be found to be safe criterions to follow. The best milliner 
studies her styles as does also the best dressmaker, and your 
originality will not safely carry you to this distance. 

A fair conception cannot be had of a frame before it is 
covered ; it should therefore be covered and then set upon the 
head when it may be bent or altered to the desired shape. 

Toques, turbans and other small shapes will ever have their 
adherents, being, as they are, very serviceable for business or 
street wear. These should, when made for this purpose, be of 
subdued shades, thus permitting them to be worn from the latter 
part of one season far into the next with good efifect and econ- 
omy. They can be fashioned very prettily of velvet or some 
soft material such as tulle or chififon or even such material as 
is used in the dress, thus making what is known as the semi- 
tailored hat. The trimming for these hats should be, as a rule, 
high on the left side with aigrettes or some other light feathery 
ornament. 

The black hat of any fashionable style or shape, providing 
it be becoming, is a good go-between hat and is in excellent taste 
for all occasions, as well as a cheap one to invest in, due to its 
adaptability for being cleaned. 

The season would be a season of extremes rather than good 
taste, that would admit of a woman of mature years wearing the 
hat of the school-girl which tips directly up in front. 



- 6 



Lingerie, or light airy hats for summer girls, are extremely 
pretty and can be made chic and girlish. There is also the faith- 
ful old Leghorn hat that never goes out of style and is service- 
able for a great many seasons, due to its capacity for being 
cleaned and recleaned, and its almost limitless possibilities when 
it comes to shapes, sizes, and manners of trimming. A good 
Milan braid is also serviceable and a good one to invest in. 

Odd shapes are not an economical investment, and especially 
is this true of the stiff straws or the straw that will not permit 
of being resewed. 

Picture shapes are decidedly pretty over young faces but 
are, of course, best adapted for dress hats. 

Large hats require more trimming than small ones and are 
thus, as a rule, more expensive. 

A stiff braid will stand the damp weather much better than 
the lighter straws or the light mull or chiffon hats. 

If you would avoid getting wrinkles, get a hat that fits and 
feels well on the head, as nothing is so exasperating as to have 
the hat slipping from one side to the other. By this we do not 
mean that the crown should come down over the head, as the 
smaller crowns oftentimes feel better and seem to fit the head 
better than the larger ones. 

A heavy hat is an abomination and is an incumbrance that 
is entirely unnecessary even though very large, as light and airy 
trimming is equally as serviceable and quite as pretty. This is 
another source of wrinkles to the wearer as a person will natur- 
ally wrinkle the face in trying to keep a heavy hat on the head. 
Do not think because a hat feels heavy when first placed upon 
the head that it is due to your not being used to it and that it 
will apparently get lighter as time passes, as this is far from 
being the case. The chances are that it will get heavier each 
time worn. 

Mr. Will fed Webb in his book "The Heritage of Dress" 
printed in England has this to say concerning the subject: "A 
heavy hat makes one have low spirits ; a broad hat, one feels 
jolly; a fancy hat, coquettish mood, and it makes one feel brighter 
as the hat rolls away from the face." 

Undoubtedly the hat has a great deal to do with one's spirits 
as there is nothing that so depresses one as to have something 
wrong with the hat or as to have it wabbling from one side to 
the other. The rules concerning ill fitting crowns and heavy hats 
should be especially observed for elderly people, as it is very 
difficult at best to go about without these unnecessary incon- 
veniences. 



If the brim of the hat comes within range of the vision to 
the extent of being annoying, another style should be obtained, 
with care to avoid this, as there is no economy in wearing a hat 
at the expense of the eyes. 

The carriage of the head has a great deal to do with the 
looks of the hat as, what would otherwise be jaunty and be- 
coming, has the effect of being entirely out of place on a person 
with drooping head and stooped shoulders. The body should be 
carried erect to give to the clothes the proper effect. 

It is important in selecting the hat that one should give due 
consideration to the build and height of the figure, as a hat well 
selected and in good taste would be considered dowdy unless in 
keeping with the proportions of the body. For illustration, a 
short, stout person, or one with a short, plump face, could be 
made to look hideous with a wide, flat hat with low trimmings. 
Especially is this true of the turned down brim. The hat should 
always be selected with a view to correcting rather than ex- 
aggerating a fault. Happy is the woman of medium height and 
weight, inasmuch, as she can wear hats according to the prevail- 
ing styles, while her more unfortunate sister is compelled to 
select her hat with a view to correcting the proportions of her 
figure regardless of the season's styles. This rule is ever impera- 
tive and must be followed regardless of the current styles. 

One with short neck should have a care that the hat, as well 
as the trimming, be clear and well defined, as a fluffy, ruffling 
effect, especially below the brim, has the appearance of still fur- 
ther shortening the neck. Contrary to this, the person with long 
neck should avoid the long, straight quills or trimmings especially 
when stood erect or nearly so upon the hat. The hat as well as 
all adornments should effect the fluffy appearance rather than the 
long, straight line. This rule should also be observed by those 
with long faces and clear cut lines. 

A person with pointed nose or thin face will do well always 
to avoid any semblance of a scoop or point in front as it has the 
effect of lengthening the already sharp nose. She may though 
wear the wide brim and fluffy trimmed hat, provided her figure 
is not short and stocky, and which is not apt to be the case. For 
the thin face a round effect in front apparently broadens the 
lines, which is a distinct advantage. 

A pointed hat may for these reasons be worn by a round, 
full face, where the broad full front appears to a disadvantage. 

The eff'ect of a square jaw is lessened by the selection of a 
pointed and well outlined hat, but is exaggerated by anything 
like a flat or "mortar board" shape. 



A very small crown is not as a rule becoming to a woman 
with a large, full face. Especially is this true of the sailor hat. 

Probably upon no one thing does so much depend in the 
looks or selection of the hat as does the coiffure. It should, 
therefore, be studied from all points, with a view to becoming 
the face first, which done should form the basis upon which to 
select the hat. 

The true value and effect of the hair with reference to the 
hat, may be had by trying the hat first over the well arranged 
and becoming coififure and then over the hair combed straight 
back from the face and forehead. The difference in effect is 
marvelous. 

When a hat comes well down over the brow in front, but 
up on the sides far enough to show the temples, the hair should 
be loosened at the sides to make a softer setting for the face. 
Older faces require more softening by the arrangement of the 
hair than younger ones. 

Brims turned high at any place are never as becoming over 
hair combed plain as when combed light and fluffy. 

When arranging the hair it may be well to know that it is 
rarely, if ever, the case when light hair is not more becoming 
when curled, while dark or black hair, being provided with its 
own natural luster, will permit of much less adornment in the 
way of curls or ornaments. 

Black hair is also very beautiful when arranged in open 
braids, while light hair will rarely permit of being drawn into 
braids of any kind, to good effect. 

Persons with long, thin faces should, when arranging the 
hair, as when selecting the hat, avoid all lines in the way of 
ringlets or long curls. They may, however, wear the hair knotted 
low in the back of the neck, to good effect. 

To the oval face is given the privilege of wearing the long 
ringlets, should the styles permit, though with a careful avoid- 
ance to any semblance of small curls around the neck of short 
or stocky proportions. 

One should always apply this rule in the selection of a hat ; 
when not absolutely sure that a certain shape is becoming, it 
should be taken in a modified rather than an exaggerated form, 
and the effect will not be far from correct. 

The subjects treated of in this series of lessons will be dis- 
cussed under the various heads from time to time as may be 
deemed necessary, this being made imperative, due to the sub- 
jects being closely related. 

— 9 — 



Accessories and the Art of Dressing 

There is perhaps no one thing so much sought after in this 
world today as dress, an innate desire for grace and beauty, 
born, bred and nurished by every woman to a greater or less 
degree. With all of these earnest desires, we regret to say there 
are but a comparative few who know exactly how to go about 
it to obtain these coveted effects. 

Is it a lack of money that causes so many otherwise success- 
ful women to fail when it comes to the matter of dress? By no 
means, for are not some of our most tastefully dressed women 
to be found among the middle or poorer classes while some of 
their more wealthy sisters succeed only in making a spectacle 
of themselves for the vulgar and gaping public to gaze upon ? 

There remains then but the one solution to this problem, a 
deficiency or lack of taste or as some prefer to call it, a lack of 
knack in dressing. 

With this lesson, as with each of the others, we shall en- 
deavor to implant in the minds of our readers the seed which, 
through proper nourishment and care, shall bring forth its fruits 
to characterize the dress in the future. To accomplish this the 
subjects must be handled in a general, rather than in a specific 
way, as to try to teach the woman taste through the hat alone, 
is like trying to give a child an education by teaching it arithme- 
tic only. To succeed with that study, the child must be given 
the various branches leading to it, and so it is with our work, 
the study of taste in dress must be made general if we would 
apply it with natural grace and precision to our construction of 
millinery. 



The Effect of the Various Colors. 

There are probably no rules more frequently violated than 
those governing the selection of colors with respect to the com- 
plexion. How often have we seen an already florid complexion 
made to look even livid by its close contact to a waist or color 
that should have been worn only by a person of fair skin and 
golden hair. There are many cases where a beautiful face has 
been made to look less comely by its close contact to ill-suited 
and offensive colors, while others in the same color have been 
made to look even radiant who would otherwise have been plain. 
Thus we see that colors should be selected with the idea of 
either heightening the luster or disguising the want of it and 
great care should be taken that such selections are properly made. 

-10- 



It is rarely the case where heauty is enhanced by the more 
brilhant of colors, such as bright red, green, yellow, purple or 
bright blue, and while perhaps in the latter case, the effect is 
not so pronounced even this should be selected with very great 
discretion. The effect of the softer shades such as light or soft 
blue, light green, pale red (pink) or violet is much more pleas- 
ing, giving as it does the idea of daintiness and a suggestion of 
modesty. To one whose perception of colors is not keen, we 
would suggest that their effect on the complexion be determined 
by taking pieces of material of the brighter colors and holding 
these close to the face, as with the brighter shades the effect is 
more pronounced and can be more easily determined. After 
the selection has been made the colors may then be toned down 
to the softer and lighter shades. 

Generally speaking, colors should make a pleasing contrast 
to the complextion. For illustration, it would be the height of 
folly for a person of florid complexion to attempt to wear a 
bright red dress or hat, as to do so would only heighten the 
color of the face and thus make it the more conspicuous. On 
the other hand, a person of pale skin can stand a certain amount 
of color of the paler shades to good effect. Where the skin is 
delicate and pale without color, the pink shades increase the 
color and have a becoming effect, but if it be fair yet with a 
delicate coloring, the blues are then best aft'ected. The extreme- 
ly red or yellow complexion should not attempt to wear high 
colors, especially among these being red, yellow and lilac. A rich 
buff or certain shades of yellow or lemon look extremely w^ell on 
brunettes, especially those of dark hair and eyes but of fair skin. 
While black hair should be set off by scarlet, orange or 
white, light brown hair requires blue. Reddish hair may often 
be toned down with shades of brown though if it be of a gold- 
red, blue, purple, green or black would perhaps be the better. 
When the hair lacks a natural richness it may be livened up by 
a careful choice of colors. Lavender or heliotrope would be con- 
sidered especially good for a person of light hair and eyes and 
of fair complexion. 

It is always well to remember that a pale face should have 
its paleness corrected by a light though dainty choice of colors, 
but a sallow person will do well always to avoid rose pink or 
dead white as it has a tendency to emphasize its sallowness. A 
cranberry or flame red would undoubtedly nn the contrarv have 
the effect of making it look radiant. Black is becoming to most 
people though there are exceptions to the rule. This is true of 
all colors as there are no fixed rules governing the colors certain 



—11- 



people should wear, as what would look well with the com- 
plexion and eyes, the hair might alter. Due to this fact it is 
advisable that each should decide this for herself unless indeed 
she has no eye for colors, in which case she should consult a 
friend upon whose judgment she could rely. 

After the selection has been made, this color should be ad- 
hered to to a greater or less degree in all manner of dress. 

Elderly people should be extremely careful in their selec- 
tion of colors as there is nothing that appears so pathetically 
fantastic as to see a woman of mature years decked out in a com- 
bination of gaudy colors. As the years pass the colors worn 
should be fewer and on the milder and less conspicuous order, 
as for instance, while the brighter shades of blue, green, red, 
etc., can be used by younger people, older ones are limited to a 
few possible shades such as brown, purple, green, gray and 
black. Browns should even be selected with great care as it is 
in many cases unbecoming to the dull shades of the hair. It is 
by far better for elderly people to give vent to their extravagant 
ideas and their desire for the ultra gorgeous by buying an extra 
fine grade of goods rather than indulging in a profusion of colors. 



Colors and the Dress. 



In selecting colors to be worn in dress one must not forget 
that the proportions of the figure are equally as much to be con- 
sidered as those previously mentioned ; what would look well on 
a tall slender figure would appear to a decided disadvantage on 
a short one. As for illustration, black has the tendency to make 
a stout person appear much smaller while white has exactly the 
opposite effect. Red has also the latter quality as do most other 
conspicuous shades. While stripes should under no consider- 
ation be worn by a tall, slender person, plaids or most other 
figures can be worn provided there is not too decided an up and 
down to it. A stout figure is apparently heightened with the 
use of stripes, while any semblance of a plaid has exactly the 
opposite result. The figure in the goods should also be small 
and show a decided tendency to the up and down. It may be 
readily seen that the same form of dress is not becoming to all 
figures. The fitting quality, as it were, does not rest, however, 
entirely with the color as very much depends upon the manner 
of making or style of the dress. 



—12- 



Difference in Figures. 

While elegant simplicity should characterize every detail 
of the dress, there are various degrees of embellishment adapt- 
able to dififerent figures varying according to the proportions 
and grace of the wearer. With this, as with all other forms of 
dress, a garment that is rendered unbecoming to the wearer be- 
cause of her figure can never be made to appear in good style 
no matter how imperative the laws of fashion may be. Any 
such garment will have the appearance of being out of all har- 
mony with all such laws of style and fashion. 

Superb figures are many times destroyed by an absurd ar- 
rangement in dress ; beautiful faces made to look less comely 
by awkward head-dresses, and fine complexions ruined by an in- 
judicious choice of colors. 

Laws of fashion will oftentimes permit of a great many 
things seemingly out of harmony with the various rules and 
regulations of fashion, and, while it is permissible to follow 
these rules to a degree, it should be done under the strictest sub- 
jection to taste, that it be not carried to the extent of freakish- 
ness. Obedience should also be given to the fundamental prin- 
ciples governing our individual manner of dress, which close 
observation will do much toward teaching. 

Who has not had her attention called to a certain style as 
being especially becoming to a person while another has ap- 
peared ridiculous in the same cut of garment. Originality is 
certainly desirable, yet it does not follow that observation is un- 
necessary or that a woman may not be benefited by applying 
its various laws to herself. 

One of the rules of dress often seen and as often violated, 
is the wearing of ruffles by the short, stout person. This is true 
alike of both waist and skirt as both have the appearance of 
shortening and thus making the figure stouter. This is also true 
of flounces as all other forms of trimming with the tendency 
to run around the garment. What cannot be worn by the stout 
figure may by the taller one be worn to the very best advantage. 
The taller one is also able to carry very much more adornment 
in the way of jewelry, laces, etc., and still maintain her dignity 
and gracefulness. 

To the petite woman is given the feeling that she can ever 
appear small and dainty but she must bear in mind that a great 
many of the rules governing the stout woman's dress must also 
apply to her, among these being the goring rather than too full 
skirts, and the absence of flounces, etc. From her also is with- 
held the flowing drapery which is worn by the taller figure to 



-13- 



such good effect. These draperies are not only becoming to the 
tall, slender person but might be considered a necessity in the 
times of tight sleeves. Tight sleeves without trimming are al- 
ways becoming to the full form of medium height or below. 

These two rules will be found to be ever applicable and safe 
to follow, first, that any cut or trimming with the tendency to 
cut across the figure should be avoided by the stout person but 
may be worn with safety by the tall and more majestic one; 
second, that stripes, trimmings or cuts running lengthwise are 
worn with safety by the stout figure but should be forever 
tabooed by the tall, slender one. 

Much has already been said concerning the choice of gar- 
ment to be worn by elderly people, we will therefore content our- 
selves by sounding but a word of warning. It does not follow 
that, because one sees a young, plump girl dressed in the decol- 
lete fashion consisting of short sleeves and low cut neck, 
an elderly person can reflect her image with anything like suc- 
cess and should she attempt to do so, she cannot expect to ap- 
pear anything but ridiculous. 



Economy and the Dress. 

A thing that economy should teach a person, though un- 
fortunately does not always do, is that where one has limited 
means on which to dress, the selection of the material and style 
should be with a view to being neat rather than elaborate. Men- 
tion has heretofore been made of this with regard to hats and 
the same rules should be as carefully applied to all details of 
dress. This is done not alone with the idea of economy but with 
the view to being well dressed. Three rules that will ever apply 
to the selection of dress are, first, invest always in one pattern 
of good goods rather than two patterns of an inferior quality ; 
second, when the number of dresses is limited to only a few 
in a season, let them be of a color not to attract attention or ap- 
pear conspicuous. How often one hears the remark about some 
certain red or purple dress, 'T never see that woman but what 
she has on that dress." Third, that a dress or garment of any 
kind be made up in a style not to attract attention. For illus- 
tration, avoid putting white trimming on a dark blue dress, or 
red on a black one, except for children or misses. Trimmings 
would be in better taste if selected from a good grade of silk, 
velvet or braid that would match as nearly as possible the color 
of goods. 



These same rules should be adhered to in accessories of all 
kinds. Avoid by all means cheap, trashy articles or material. 
Beware of the prevailing colors that are in today and out to- 
morrow and of ornaments or feathers that, while in style this 
season will taboo the hat or dress as a back number if worn next 
season. It is always safe to remember that the daintier the 
trimming the better the taste. 

All rules given above should be especially followed by per- 
son of unsymmetrical or deformed figure or face, as to do other- 
wise tends only to emphasize or exaggerate the defect. One 
should also not select too pretty a garment of any kind even 
though blessed with an unlimited amount of money, as a pretty 
dress or hat or even jewelry will attract and thus call attention 
to the form and face where it would perhaps otherwise pass un- 
noticed. 

We would also call to your attention the wearing of new 
and old or gorgeous and plain garments together. As for in- 
stance, how often do we see a rich and showy hat worn with a 
very cheap or old gown, or a gorgeous coat worn over a plain 
dress. These combinations often form the most trying contrasts 
and should be by all means avoided. 



Collars, 

Probably no one thing adds to or detracts from the looks 
of the face as does the collar with the possible exception of the 
hat. It has ever been an enigma why the short, fleshy person 
with short neck and broad face will persist in wearing the fluffy, 
billowy collar that completely hides the neck, creating the im- 
pression that the chin starts where the neck really ought to begin. 
It will also never cease to be a wonder why these same people 
will put around their neck a collar that is much too high and 
which causes them to look choked and stuffy as well as being 
exceedingly uncomfortable. A person with a double chin should, 
regardless of style, go the farthest way around the fluffy col- 
lar of chiffon or lace as well as all colored collars, unless it be 
of a decided stripe, the stripes as we already know having a 
tendency to apparently lengthen the proportions of the figure. 
Such ties as are worn by these persons should be on' the narrow 
or string order, and rather than being tied in a bow should, 
regardless of fashion, be tied in a four-in-hand or with standing 
loop and long ends. This has the effect of bringing out the up 
and down lines of the face or, as it -were, continuing the line 
of the nose to the extent of counteracting the unusual broad 



—15- 



lines of the face. The color of the tie also plays its part in 
changing the appearance of the chin and neck inasmuch as a 
light colored tie on a light waist is not marked enough to bring 
out the lines which are made possible with the black tie. When 
selecting a tie choose one thst will form a decided line when tied. 
The foregoing being the rule with the stout person it is obvious 
that the slender person with the long neck has absolutely no 
business with the striped collar or the long string tie. She may, 
though, have her heart's desire of the fluffy, billowy collars, as 
these in appearance cut short the lines of the face. 

Soft laces or ruchings around the neck or arms on a young 
person have the effect of softening the lines and giving a dainty 
finish to the skin. 



The Hair. 



Little has been said concerning the dressing of the hair but 
as so much in the looks of a hat depends upon this subject we 
shall herein lay down a few rules that in the majority of cases 
are safe to follow. The dressing of the hair should always be 
done with the idea of being becoming regardless of what the 
fashion may be. Never attempt to follow the fashion of the 
day unless such mode be particularly suited to one's individual 
style of beauty, as nothing is stylish if unbecoming. A very 
round face should avoid parting the hair in the middle, the hair 
kept well brushed back from the forehead and when possible 
it should be arranged on top of the head. A broad brow should 
also follow these rules especially keeping the hair well away from 
the temples. A low brow calls for a clean forehead but with 
a few wavy locks over the temple. A receding brow or forehead 
should be lessened by arranging the hair in a fluffy manner upon 
the forehead, while the high cheek bones are greatly modified 
by combing the hair over the temples. A small tapering chin 
should not be accentuated by further adding to the sides of the 
head the width of fluffy hair, while with a square cut jaw this 
is permissible. These are a few of the rules laid down ; however, 
a little experience will teach one those best suited to her in- 
dividual style. 



Mourning. 

It is very difficult to lay down rules to be adhered to in the 
matter of dress for mourning, as different authorities disagree 
on the conventional dress for this purpose. It is safe to say. 



16- 



however, that a widow may with propriety do away witli heavy 
mourning after the first six months, though most authorities 
agree that she should wear black trimmed with crape for the 
first year and black without craj^e for the first nine months of 
the second year and half mourning for the balance of the year. 
She may even begin during this period the wearing of a few 
colors such as lavender, gray, and white, or black and purple 
together. This is allowed that the change to the more conspicu- 
ous of colors may not be so pronounced at the beginning of the 
third year. 

A mother wears crape for a child six months, black for three 
months and half mourning for the balance of the first year. 
The same is worn when mourning for the parent, however, the 
time is often extended according to the desires. A sister mourn- 
ing for a sister or brother usually wears crape for three months, 
black for two months and half mourning for one month: 

No jewelry should be worn when in black unless it is a dia- 
mond engagement ring, a wedding ring or mourning jewelry 
such as a watch or jets of some kind. 

Street suits should, during mourning, be made simple with 
little or no trimming. 



Blending of Colors 



In treating of this subject, the writer will endeavor to teach 
the woman the blending of colors with reference to the matter 
of dress generally. In dress it is nothing out of the ordinary 
to see colors employed together entirely out of harmony with 
themselves as well as with their wearer. Nothing bespeaks of 
poor and vulgar taste as docs this innate love for show and at- 
traction, and yet the most richly dressed people, with unlimited 
means at their command, are often decked out in a miniature 
riot of colors apparently wholly ignorant of the attraction or 
sensation they are creating. Thus it is seen that the rich as 
well as the poor, and the young, as well as the old, are often 
decked out in this most unbecoming fashion, as mothers, igno- 
rant of the laws of dress for themselves, are often found dress- 
ing their children up in the dowdiest of fashion. 

—17— 



Simplicity and Harmony. 

Simplicity and harmony should characterize every woman's 
dress, as extremes are always in execrable taste and should by all 
means be avoided. 

It is not alone with hats we would impress upon you the 
necessity of careful and rational choosing of colors, as the effect 
of a becoming hat is entirely lost amid a chaotic group of inhar- 
monious colors. 

Every color to be used with the dress in any manner, should 
go through, as it were, a period of probation before being select- 
ed. The wearer should first consider whether or not it be be- 
coming to her complexion, hair and eyes; what, if any, would 
be the effect of the color or combination of colors upon her 
figure; and lastly if it would perfectly harmonize with other 
garments she might have occasion to wear. 

It. is not necessary that it prove itself unqualified in each 
of these particulars; one alone being a just reason why the color 
should not be considered, but should be at once and for all times 
rejected. 

An universal failing among women has ever been to con- 
sider only the beauty or ugliness of a garment as it appeared in 
itself, wholly forgetful that while a certain article may cause one 
person to appear as a queen, it may cause another to appear 
ridiculous, if not even ludicrous. This, however, does not deter 
them oftentimes from obtaining one such garment, simply be- 
cause it had looked well upon another, even though to don it 
may be at the sacrifice of all originality and personal beauty. 

Could the one thought be impressed upon the minds of our 
readers and they in turn be persuaded to act upon it, this sub- 
ject alone might well be considered to be worth all our efforts. 
This thought, that a garment may be ever so rich and fashion- 
able in its make up; its quality ever so fine, and its combination 
of colors ever so harmonious in themselves, but if it be unbecom- 
ing to the complexion and figure of the wearer, its impression 
upon an observer is unfavorable and oftentimes to the extent of 
being painful. The garment may, on the other hand, become 
the complexion, as do the various trimmings used in its makeup, 
still, if the colors are inharmonious among themselves, the im- 
pression made is again unfavorable. The effect of this unfavor- 
able impression is difficult to understand by even our friends 
but it may be easily explained in this way: Nature never in- 
tended us to look upon inharmonious groups of colors, else why 
would her combinations all be in such perfect harmony? Note 
with what precision the rainbow and the flowers pass from one 

-18— 



color to another. From these examples are we not free to con- 
clude that the nature beauty instinct within us rebels against such 
wholesale transgression of her laws? 



A One Color Foundation. 

A very safe way, and one not likely to meet with discordant 
effect in the harmonizing of colors with reference to dress, is 
to select a certain color that meets with all of the requirements, 
including the complexion, eyes, etc., and with this color make a 
foundation upon which all future selections are to be made. One 
will be surprised at the comparatively short time before this 
color will permeate every feature of the dress thus doing away 
with the possibility of inharmonious effects between one garment 
and another. To illustrate: In the summer a person being of 
fair complexion obtains a number of light waists with a touch 
of blue running through them in either the figure or trimming. 
The neck wear is bought or made with the idea of harmonizing 
with these waists. Now the woman goes to the store and know- 
ing that a rich lavender looks well with a light complexion, and 
it being the prevailing shade of the season, she obtains a suit of 
that color, and with what result? She finds upon returning to 
her home that not one of those waists or collars will look well 
with the suit, and that she must either wear that combination of 
colors or invest in a new supply of waists and neck wear. 

Even with a foundation to work upon, one must exercise 
extreme care as two colors may perfectly harmonize with an- 
other and still not harmonize with each other, as for illustration : 
light blue perfectly harmonizes with gold, as does gold with 
purple, still the blue and purple are odious when placed together. 
It should also be remembered that a certain shade may be out 
of harmony with a color while another shade of the same color 
may harmonize with it though perhaps imperfectly. We would 
also have you bear in mind that because several shades or colors 
perfectly harmonize, it does not necessarily follow that all of 
those shades may be worn at the same time with good taste and 
effect, as too many or a profusion of colors, becomes glaring to 
the eye and overreaches all bounds of simplicity and neatness. 

Another * rule that should be observed in the selection or 
trimming of a dress or hat, is not to associate different hues of 
the same color ; as for illustration, blue-green and yellow-green, 
or purple and orange-brown, as these are as a rule much more 
trying to the eye than inharmonious opposites. In order to avoid 
this, care must be taken in selecting materials that they be all of 

-19— 



the same shade or on the same order of color, as to deviate 
from this is like tying a salmon colored ribbon around a bunch 
of red poppies and expecting them to harmonize. 

Neatness and simple elegance should be our motto in every 
manner of dress, as a promiscuous use of colors is an outrage 
to modesty and grace and should therefore be avoided. 



Colors by Different Lights. 

Another subject of importance and one especially to be ob- 
served in the buying of materials of any kind, is the effect of 
the light upon the different colors ; as, for instance, shades that 
appear to be in perfect harmony with each other by the light 
of day, are sometimes rendered decidedly disagreeable by the 
gas or artificial light, and vice versa. The effect of the light 
upon different shades also makes it impossible for a person to 
match colors in the evening though they be of the same ma- 
terial, as the light striking the goods at a different angle, be it 
ever so small, renders the shades difficult to determine. 

The different lights have also much to do with the bril- 
liancy and lustre of goods, as where some lose their brilliancy 
by the gas, others are rendered more brilliant by this artificial 
light. It is, therefore, obvious that it is neither wise nor safe 
to trust to the evening light for the matching or harmonizing of 
colors, and for the same reason it is unwise to select or decide 
on a piece of material to be used exclusively for evening wear 
without first seeing it by the evening light. 

Before the woman attempts to use any'original ideas in the 
construction of a hat or dress, a thorough study and mastery of 
the art of blending colors is advised, as to do otherwise, is both 
unwise and unsafe. 

A few rules are given below which will be of use to the 
woman in pursuing her work. 



Colors that Harmonize. 

Blue and orange harmonize. 

Light-blue and chocolate harmonize. 

Chocolate and pea-green harmonize. 

Blue and green harmonize. 

Green and yellow harmonize. 

Yellow and black harmonize. 

Yellow and red harmonize. 

Deep red and gray harmonize. 

Deep blue and golden brown harmonize. 

-20— 



Crimson and drab harmonize. 
Crimson and orange harmonize. 
Scarlet and blue harmonize. 
Lilac and scarlet harmonize. 
Buff and claret harmonize. 
Deep-blue and maroon harmonize. 
Slate-color and scarlet harmonize. 
Red and white harmonize. 
Gray and red harmonize. 
Yellow and violet harmonize. 
Pale-green and violet harmonize. 
Warm-green and maroon harmonize. 
Black and scarlet harmonize. 
Drab and blue harmonize. 
Blue and white harmonize. 
Gray and blue harmonize. 
Orange and brown harmonize. 
Black and warm-green harmonize. 
Pink and deep blue harmonize. 
Black and warm brown harmonize. 
Salmon-color and blue harmonize. 
Blue and maize harmonize. 
Blue and black harmonize. 
Purple and salmon harmonize. 
Pink and blue a poor harmony. 
Crimson and white harmonize. 
Black and orange harmonize. 
Pink and white harmonize. 
Scarlet and white harmonize. 
Crimson and lilac harmonize. 
Black and white harmonize. 
Scarlet and orange harmonize. 
Blue and straw-color harmonize. 
Crimson and purple harmonize. 
Heliotrope and green harmonize. 
Yellow and purple harmonize. 
Brown and white harmonize. 
Blue and brown harmonize. 
Green and scarlet harmonize. 
Maize and crimson harmonize. 
Maize and purple harmonize. 
Purple and orange harmonize. 
Yellow and brown harmonize. 
Purple and lemon harmonize. 
Purple and buff harmonize. 



Combinations of Color That Harmonize. 

Blue, black and orange harmonize. 
Green, orange and red harmonize. 
Orange, green and blue harmonize. 
Scarlet, purple and orange harmonize. 



-21- 



Scarlet, blue and orange harmonize. 
White, scarlet and blue harmonize. 
Green, scarlet and blue harmonize. 
Scarlet, purple and white harmonize. 
Yellow, lilac and white harmonize. 
Yellow, lilac, scarlet and white harmonize. 
Yellow, blue and scarlet harmonize. 
Blue, gray and scarlet harmonize. 
Yellow, blue, black and scarlet harmonize. 
Brown, green and yellow harmonize. 
Green, scarlet and white harmonize. 
White, scarlet and yellow harmonize. 
Yellow, black and scarlet harmonize. 
Red, gold and black harmonize. 
Blue, brown and gold harmonize. 
Blue, brown and crimson harmonize. 
Purple, scarlet and blue harmonize. 
Black, yellow, scarlet and purple harmonize. 
Purple, yellow and scarlet harmonize. 
Crimson, gold and brown harmonize. 
Crimson, lilac and gold harmonize. 
Lilac, scarlet and white harmonize. 
Lilac, scarlet and black harmonize. 
Black, buff and salmon harmonize. 
Lilac, crimson and orange harmonize. 
Black, white and crimson harmonize. 
Black, white and yellow harmonize. 
Blue, black, scarlet and orange harmonize. 
Black, drab and salmon harmonize. 
Black, buff and purple harmonize. 
Blue, scarlet, green and white harmonize. 
Purple, scarlet, green, yellow harmonize. 
Purple, salmon, white harmonize. 
Buff, salmon and green harmonize. 
Lilac, salmon and buff harmonize. 
Pink, green and lilac harmonize. 
Scarlet, purple, orange and green harmonize. 
Purple, scarlet, yellow and blue harmonize. 
Purple, salmon, yellow and white harmonize. 
Buff, scarlet and green harmonize. 
Gold, green and heliotrope harmonize. 

Further consideration will be given to colors with reference 
to the complexion. See Art of Dressing Well. 



Making the Hat 

The re-making and re-trimming of a hat is in itself a very 
interesting subject and requires not so much a technical knowl- 
edge of millinery, as a natural or acquired taste and the ability 
to apply the same in the remodeling or construction of the hat. 

-22— 



As has been said, a well fitting and becoming hat is the 
most essential point in the construction of millinery, as the trim- 
ming loses entirely its effect if placed upon a hat unbecoming to 
the wearer. It should, therefore, be remembered that the frame 
itself is what gives to the hat its graceful lines, form and style, 
and without these fundamental lines to build upon, the trimming 
can never be placed with the effect of being becoming or nobby. 

It is a mistake to feel that the hat can be put together in a 
slip-shod way with the idea of utilizing the trimming to cover 
up such defects as may be made in the construction of the foun- 
dation. The folly of this lies in the fact that invariably when this 
is made necessary, the trimming is brought from its natural or 
graceful lines into sharp angles or fantastic shapes, making it 
obvious to the observer that there is either a defect in the hat or 
in the trimming itself. 

There are times, however, in the making over of a hat, when 
one runs short of foundation material; the plan best to follow 
in a case of this kind is to study the current styles and thus 
ascertain where the trimmings are most popularly placed for 
the season, taking care that such style is becoming to the wearer. 
In this way it is made possible for the shortage to come in a 
place thus readily covered without losing its effect or graceful- 
ness. This subject will be further discussed under the head of 
Trimming The Hat. 



Making the Wire Frame. 

There was a time in the millinery business when the trimmer 
was expected to construct as well as trim each individual frame, 
they being held, when sold at all, at exorbitant prices and at that 
only the most common ones being obtainable. That time has 
passed, as they can now be purchased in any desirable shape at 
but little in advance of the price of making and this with a vast 
saving of time and patience. 

It is necessary, however, that the woman be familiar with 
at least the making of the most common frame or what is known 
as the flat frame, in order that she may alter or repair a hat in 
an intelligent manner. 

To begin with, the frame is started with what is known as 
the headwire which is the wire placed at the base of the crown. 
This wire is cut 22 in. long, lapped and joined in a circle meas- 

-23- 




lining i8 in. then fastened by wrapping around each other or 
with what is called a tie-wire, No. i. A wire is then cut 54 in. 

in length, lapped and 
joined in a 48-in. 
circle, this to be used 
for the edge of the 
brim, No. 2. Lap a 
piece of wire 29 ins. 
long until it measures 
23 ins. and thus se- 
curely fasten. This 
is what is termed a brace wire, No. 3. After this another wire 
is cut 22 ins. long, lapped past and fastened in an i8-in. circle, 
to be used for the top of the crown. No. 4. Now cut four 
pieces of wire each 22 ins. long as A, B, C, D. These are 
known as divisional wires. These four wires are joined exactly 
in the middle by wrapping one of the wires entirely around the 
other three at a point E. They are then spread an equal dis- 
tance apart. Three inches is then measured on each of these 
wires from the point E, when they are each wrapped around 
wire No. 4. Measure two inches down for the height of the 
crown and wrap aroimd the head-wire or No. i, and then bend 
out for the brim. Measure two and one-half inches on wire A 
as well as all corresponding wires and wrap around wire 3. 
Another two inches is measured on these wires when they are 
then wrapped around the edge wire or No. 2. These connections 
are made more secure by using a pair of nippers. Care should 
be taken that the wires A, B, C and D, are kept an equal dis- 
tance apart and that the places of lapping wires i, 2, 3, and 4, 
be in the back of the hat. Should the frame be unusually large 
or seem weak, another brace wire may be used to hold it in 
shape. This frame has what is known as the i8-in. crown, an 
ordinary size and one adaptable to the fitting of most heads. 
Should a larger crown be desired it is well to make an extra 
and larger one in the same manner as described above and fasten 
r^-r----j^ it securely to the frame over the inner crown, as 
rk to use the larger one alone would allow the hat to 




=^i>i] extend too far over the head. 



After the frame is completed and before cov- 
ering, it should be placed upon the head and the wires adjusted 
that it may feel and set comfortably in place. 

After a careful study or a little experience with the above 
directions, it will be. found to be an easy matter to adjust or 



make any shape according to the prevailing styles or individual 
taste of the wearer. 




To Make a Buckram Frame, 

The possibilities of the buckram frames for the home milliner 
are perhaps more limited than with the wire frames, unless the 
wire be used for a foundation over which the buckram is 
placed. This is done by laying the wire frame flat down upon 
a piece of buckram and the latter cut the exact size of the frame 

This, of course, narrows the edge 
and the crown opening. Should 
there be a turned up edge or other 
feature requiring the narrowing of 
the buckram, this effect is accom- 
plished by cutting or slitting the 
edge and allowing it to pass by 
after which it is basted into shape, 
and causes it to turn up into the desired shape. Should, on the 
contrary the desire be to widen the frame, this is done by cutting 
out a V-shaped piece and stretching it over the frame. The 
buckram should be well basted to the wire if the best results are 
to be had. 

For the crown, a piece of buckram is cut about an eighth 
of an inch higher than the wire crown and an inch longer. This 
is passed around the crown and fastened in the back. The top 
is then cut to exactly fit the opening in this piece .and is then 
sewed into place by using what is commonly known as the base- 
ball stitch. This foundation, as well as the following, is used 
principally for the velvet hat, and may be of a finer wire than 
that used for the chiffon or lighter weight hat, the wires being its 
only support, while this has the additional support of the buckram. 

To make a flat buckram shape without the wire frame, 
the brim is cut from a whole piece of buckram any size de- 
sired, after which a crown is cut from the buckram, one inch 
wider and one inch longer than the desired size. This piece 
is sewed together after passing by the one inch in length. The 
opening is then made in the brim to match the crown. The spare 
inch in the width of the crown is then slit and passed from the 
top of the brim into the opening. By means of the incisions 
or splits in the base of the crown the same is allowed to spread 
and may then be basted to the brim from the under side, thus 
finishing the crown opening. 

—26— 



For the top of the crown, a round or oblong piece of buck- 
ram is cut, according to the shape desired, and being about one- 
half inch larger than the opening. The exact size of the open- 
ing may be obtained by turning the crown over and tracing the 
buckram with a pencil on the inner side of the crown. After 
slits have been made in this extra half inch to within a sixteenth 
of an inch from the pencil mark, the top is creased to the exact 
size of the opening or on the pencil mark. The turned down 
edge containing the slits is then placed in the top of the crown 
and the same basted to the sides from the outside. This extra 
staying in the top of the crown helps to keep its shape and takes 
the place of a wire. 

These foundations are, of course, wired around the edge 
when they may then be bent into almost any graceful shape or 
style. 

Should the buckram fail to stretch the required amount after 
the incisions are made, such parts may be dampened a very little 
when it may be readily brought to the required shape. 

With this as with all others, the frame should be made to set 
comfortably upon the head. To do this it may be found neces- 
sary to wire it around the lower edge of the crown and by means 
of this adjust the crown to the head. 

The spring, summer and autumn seasons might be considered 
the most economical for the home milliner, permitting, as they do, 
of a great many combinations of straw, taffeta and chiffon or 
other soft materials which may be worked up very nicely and 
economically together. 

The combination of the straw brim with a crown of finely 
pleated or shirred chift'on or a taffeta brim with a straw crown, 
are very good as well as practical examples of this. 

Very practical and pretty crowns may be made of milliner's 
net, arranged into different soft shapes and covered with chiffon 
or other soft materials. To do this, take a large square of net, 

with rounded corners, and 
pleat this edge into the 
crown opening of the brim. 
If a Tam-O-Shantcr is de- 
sired it should be left flat, 
while for a standing crown, 
it should be wired with 
four small brace wires, 
placed in the front, sides and back to hold it in position. They 
should not be made to stand too stiff else they will lose much of 

~26— 




their graceful effect. The stiffer or better the crape net the less 
wiring will be required for the various crowns and shapes. 

To prepare a hat for a chiffon, lace or all taffeta covering, 
may be done by dampening a piece of net and laying upon this 
the wire frame to be covered. The moisture in the net will admit 
of its being stretched into most any desirable shape by simply 
pulling it hard toward the bias. While this is being done, it 
should be carefully and evenly pinned to the frame, after which 
it can be readily sewed and then covered with the material to be 
used for the outside. The net in the brim may be made firmer 
by using a hot iron in drying. The crown can be made according 
to previous descriptions or as later described. 



The Semi-Tailored Hat. 

What might be considered the most practical as well as the 
most economical hat in the line of millinery is what is known as 
the semi-tailored hat. There appear to be as many diverse ways 
of constructing this little hat as there are fair ones to wear it, 
as it is, generally speaking, a favorite, and each creation seemingly 
vies with the one before it for practicability and gracefulness. 

These hats are made from 
materials varying in price and 
texture and may be made over 
any desired shape or foundation 
according to the taste of the in- 
dividual. The cloth, velvet, silk 
or other material used in the 
construction of this hat is usually 
cut with the idea of draping 
rather than closely covering the 
frame and is, therefore, cut into different shapes according to 
the amount of material on hand. The regulation pattern, when 
new material is being used is usually round, this being the shape 
most convenient to use. These are known to the milliner as 
"plateaux." Of course this material makes a covering for the 
entire upper brim and crown with the possible exception of a 
velvet piping or finishing around the edge of the brim, while 
the lower brim may be finished smoothly with taffeta or other 
desired material. 

In draping this hat, great care should be taken that the ma- 
terial falls gracefully around the crown and that the folds lay 
natural rather than pulling from one fold into another. 

-27— 




To Raise or Lower the Crown. 

It becomes necessary many times in the handling of millinery 
to alter the hats on hand and which are left from the previous 
season, to the prevailing style of the season at hand. A large 
expense is saved in this way, as often times the raising of a 
crown or the widening of a brim or vice versa may be the means 
of saving an expensive braid or shape. This is not difficult to 
do and may be done by a little careful study. 

To raise a crown, cut around the sides within an inch or so 
from the top, then cut a piece of buckram about an inch wider 
than the amount necessary for the required width and long 
enough to fit within the crown ; sew this with long stitches on the 
inside of the top and lower pieces of the crown and then cover 
the exposed piece of buckram with a bias fold of velvet or silk. 

To lower a crown, go about it in much the same way, only 
after removing the top portion of the crown, cut off the required 
amount from the part of the crown left on the hat and then 
place the upper over the lower portion and in this manner sew 
together. 

To widen a brim, cut a fitted piece from a Hat piece of buck- 
ram, and sew this to the outer edge of the brim, after which 
it is wired and faced back on the upper and lower sides with a 
piece of satin or other material. This facing is cut on the bias 
and in one piece wide enough to come over the edge onto both 
the upper and lower sides, where the edges are thus turned under 
and blind stitched to the hat covering. 

Of course, where the hat is not covered and the foundation 
alone is being altered, the entire hat may be covered as though 
the brim were in one piece, but where the hat is covered and then 
the extra width desired, the facing is necessary, as to take the 
hat apart is difficult and is unnecessary work, as a well put on 
facing makes a decidedly pretty finish to the hat. 

To narrow a brim it is, as a rule, sufficient to cut off the 
required amount, wire and bind or pipe the edge with velvet, 
silk of other material. 

If a wire frame, the outside wire may be removed and the 
brace wires fastened to the first wire back from the edge. 

A little practice will make it possible for one to make desired 
changes with but very little if any cost. 

—28— 



Preparing the Hat for Trimming 

In preparing the hat for trimming, we have first to consider 
the covering of the foundations as described in the foregoing 
lessons, as weW as various others, one might have occasion to 
use in their business career. 

To begin with, if the foundation desired to be covered is an 
old one, it should be well looked over and the necessary repairs 
made before attempting to use it ; as for instance, a wire frame 
with joints fastened with tie-wire instead of being wrapped 
around, invariably needs repairs at the end of the first season 
and before being used a second season. This must be done 
thoroughly with the use of more wire and a pair of nippers, that 
the frame may be prepared to hold its shape throughout the 
following season. 

Then too the buckram frame has its need for repairs, as 
oftentimes the brim loses its stiffness or the crown becomes bent 
or pushed in at the top, in which case it should be blocked and 
pressed as described in lesson nine. Stiffness may be given to 
the buckram by laying a wet cloth over the crown and pressing 
this until dry. The cloth should be used, as the dressing sticks 
to the iron when hot. The brim is pressed in the same way with 
the exception of being laid upon a flat surface in place of the 
block. After this is done, should the brim be still inclined to 
droop, it may be wired once or twice according to the shape and 
condition of the frame. Cotton wire may be used for this pur- 
pose, being entirely concealed by the material used for covering 
the hat. Forks may also be used in holding the buckram brim 
in place. 

Strengthening the Crown and Brim. 

It is very difficult to clean any of the finer straws such as the 
Leghorn, chip or Milan without getting them in a measure out 
of shape. This is much easier to avoid than to rectify. It is, 
therefore, wise to use every precaution in cleaning these braids 
not to get them too wet, and, during the process of cleaning, to 
handle them as little as possible. 

The crown is the most difficult part to deal with during the 
cleaning process, but being the most essential part, it is well to 
know how to restore it to its original form. 

The hat necessarily loses its former head-lines upon being 
wet and if new ones are not formed the necessity for holding 
and pulling it in order to keep it on the head will soon get it out 
of all possible shape. 

—20— 




Set the hat upon the head and if it does not set firm or seems 
"wabbly" it should be strengthened by a narrow band of capenet, 
wired on each side and placed within the crown. This is essen- 
tially the same as the bandeau used for this purpose. Another 
way is to sew two rows of wide ribbon brace-wire on the outside 
of the crown from a half to an inch apart and cover this with 
a bias fold of soft material or one of the many other ways to 
finish the crown. 

A poor crown caused from hatpins may be strengthened in 
the former way, except that the band of capenet should be the 

height of the crown. It is then wired 
and fastened securely within. If this 
is secured both at the top and bottom, 
the straw may be cut from around the 
sides of the crown, that the material 
used for finishing may be made to fit 
closer. 
The brim, as a rule, needs some attention, usually in the way 
of wiring. This may be done by sewing one strong wire to the 
lower, and to within about an inch of the outside edge of the 
brim ; or two small wires may be used, sewing one on the under 
side and the other about a half inch nearer the crown and on 
the upper side of the brim. When the two wires are used they 
are usually put nearer the edge and then covered with a binding 
of light weight material or with a soft quilling made of a bias 
piece of net or soft goods put on in the shape of a puffing. Too 
heavy material should not be used on the edge as the stiffness 
in the hat will not hold the weight and keep its shape. 

When not covered, silk wire, the color of the hat, is used 
and should be carefully sewed by means of long loose stitches, 
caught to the under side of the wire and then into the hat. The 
joining is made in the back by passing the wire by about an inch 
and fastening. 



Forks. 

Forks are also used to hold the soft braids in shape as well 
as being a convenient means by which to alter such shape. These 
are made of fine, silk ribbon wire, extending out from the base 

of the crown and on the under 
side of the brim to from four to 
six inches, according to the size 
of the hat, usually being allowed 
to come to within about two 
inches of the outside edge. The 




wire is then bent in a small half circle and brought back to the 
crown and fastened. These wires are invisibly caught to the 
hat by means of a fine thread. 

After the hat is successfully cleaned, pressed and wired, 
it is laid aside and the preparing of the trimming begun. 



Sewing the Straw Braid. 
In selecting the straw braid to be used, it should be done 
with the idea of economy, not in price, but in the value of the 
braid. A cheap braid is one of the most expensive of articles, 
as the dyes used are of an inferior quality thus causing it to 
fade under the first rays of the sun. A cheap braid is also 
brittle and breaks badly in handling, making it unfit to be used 
a second time. On the other hand, a soft braid may be used 
and sewed over a number of seasons before needing even to be 

colored. 

After the frame has been securely fastened, it should be 
covered over with Brussels-net, tulle, mull, or other fine, cheap 
material to conceal the wires. This is done by sewing the ma- 
terial first to the outside or brim wire and then drawing it back 
to the crown, thence up and to the center of the crown where 
it is gathered. Should the braid be heavy, it is not considered 
necessary that the frame be covered in this manner as each strip 
of braid can be sewed onto the preceding one, thus holding it 
firm and secure. If the material being used is of the finer order 

such as chiffon, tulle, etc., 
the inner covering should 
then be put on full and 
even that the wires be en- 
tirely concealed. 

If one has a plenty of 
the braid, she may begin by 
using this to bind the edge 
wire, but if not, start at the back of wire A. letting the braid 
extend out over the edge of the wire about one eighth of an inch 
and thus sew it around and around in such a way as to have 
each border of straw slightly overlap the preceding one. This 
is continued until the entire upper part of the hat is complete, 
after which in the same manner the lower part of the brim is 
made. Thp straw need not be cut in making the entire upper 
part of the hat, cutting only when starting onto the lower side. 
In the center of the crown the edge of the braid is gathered and 
drawn into shape. 




-31- 



Should the braid run short in making the hat, it is perhaps 
better to cover the upper part of the brim and crown with the 
braid, finishing the lower side with chiffon or other soft material, 
with the possible exception of one row of the braid placed on 
the extreme outer edge to finish it. The braid could also in this 
case be sewed to the upper and lower brims and to the top of 
the crown, leaving the sides to be finished with a bias fold of 
velvet. 



Covering the Frame With Soft Material. 

To cover the wire frame with soft material, it should be first 
covered with mull or net of some kind as stated above, over 
which the outer material is then placed. Should one desire tucks 
or narrow ruffles, they should be placed in the material before 
applying to the hat. Four or five narrow ruffles make a very 
pretty edge to an all chiffon hat. If these are used, they should 

be placed close to the edge, the 
gathering of which forms the full- 
ness necessary for the covering. 
The wrong" side of the material is 
then sewed to the under, side of 
the brim about one-fourth of an 
inch from the edge and then 
brought up over the brim and 
sewed to the headwire. The gathers should be brought back 
smooth and even to the crown. A group of three or four narrow 
ruffles makes a very pretty finish to the outside edge of the 
crown and especially where the same is used on the edge of the 
brim. The under side of the brim is then finished with another 
narrow double ruffle placed in the edge of the material and 
sewed on the wrong side to the under side of the brim. This 
is then turned and brought back and sewed to the headwire. 
The narrow ruffle on the edge of the facing should cover the 
seam made where the facing is sewed on and should extend out 
to the edge wire. 




To Cover the Buckram Hat, 

The material for covering the upper brim to the buckram 
frame is cut in a circle to fit the hat, allowing a half inch at the 
outer edge to turn over the edge wire. Cut out the crown circle, 
after allowing an inch for slashing in the fitting. The piece 
should be basted or pinned tightly to the frame as the goods 



will stretch badly in the handling. The inch allowed at the 
crown opening is then slashed and turned up and sewed with 
long stitches against the crown. Great care should be taken when 
cutting these slits that they are not made too deep. 

The covering for the crown is made by cutting a round 
piece of goods a half inch larger than the top of the crown. This 
is pinned to the top with millinery pins, after which it is sewed 
with long stitches down to the side. The sides of the crown are 
finished with a bias band of the goods, turned in at the edges, 
and caught down with the blind stitch at intervals of about three 
inches. This fold finishes the slit edges made by the upper part 
of the brim as well as the edge folded down from the top of 
the crown. 

The lower brim or facing may be made either fitted or bias 
according to the amount of material to be used. If the former, 
it should be made as with the upper brim, to exactly fit the foun- 
dation, allowing the extra inch at the crown opening for the 
slitting and turning up. This facing is laid on the lower part 
of the brim and pinned carefully at the front, back and sides. 
The outside is then turned in a trifle on the inside of the edge 
and basted. It is then blind stitched around the edge with loose 
stitches. The crown opening is then slit, fitted and turned up 
on the inside and basted. The bias fold around the crown may 
be left until the last when it will also make a covering for these 
bastings. If the material to be used makes it necessary to have 
the bias facing, it should be cut wide enough to turn in at the 
edge and crown and should be on the true bias. To face a hat 
in this manner is very difficult and must be done accurately in 
order to look well. Begin by laying the facing on the founda- 
tion and pinning near the crown in the front, back and sides, after 
which the outside edge of the goods is turned in a little back 
from the edge and pinned lightly around. Snip this edge care- 
fully if necessary in order to make it fit smooth around the brim. 
Great care should be taken not to cut in too deep when snipping 
these edges. It should afterwards be basted well before at- 
tempting to slip-stitch or blind stitch it down. The stitches must 
be long and loose that they may not draw or give it a puckered 
effect. The snipped edge is then turned in or fitted into the 
crown and basted. Last of all the seam is finished in the back 
with invisible stitches. 

-33- 




SSS^SMBSeSB* 



The velvet, as well 
as other styles of hats 
:3 is often finished 

•' around the edge with 

a bias piece. This is 
\ done by turning in 
jT the edges and blind 
^ or loose stitching 

them down on the 
upper and lower sides with long, loose stitches. 

To cover the upper brim of a hat with taffeta is shown in the 
figure. The silk is cut on the bias and sewed about an eighth 

of an inch from the outer edge of 
the brim on the lower side. In order 
that it may exactly fit and be kept 
well in place, it should be pinned 
lightly around the edge and allowed 
to join either in the back or where 
the trimming will cover. The stitches 
used in sewing this need be only 
short enough to hold the silk smooth- 
ly when turned and jntt into place. 
The silk is then drawn back over the top of the brim and pinned 
into shape around the base of the crown. It should be made 
to look perfectly straight and the gathers made smooth and 
even. Should the original foundation of the hat be of straw, the 
under sides of the brim may be left natural, or there may be a 
natural straw band left on the upper and lower sides of the 
brim, and the balance faced with silk. 




Bandeaus. 



The bandeau has become quite a necessary adjunct to a well- 
regulated hat. There would essentially be but one use for the 
bandeau, that of strengthening the crown, if crowns were de- 
pended upon entirely for the fit or set of the hat. So long, 
however, as the crowns are small or the hats require a tilt, there 
will be a need for them. 

They are used in hats for various purposes; to give the hat 
a graceful tilt ; to aid in the fitting of the crown ; to support a 
weak crown, and give a firm foundation through which to pin. 

When used for the latter purpose, they are usually made of a 
straight piece of buckram or capenet, varying in width from an 
inch to the height of the crown, and in length sufficient to fit 
within the crown. 

—34— 



Jlaiulcans used for other purposes vary in width, length and 
shape accorchng to tlie requirements of the wearer. The regu- 
lation shape is rounding on both edges, or with one straight and 
one rounded edge, meeting at the ends in a point. 

When it is desired that the hat be given a tilt or raised from 
the head, the long edge of the bandeau should be sewed into the 
edge of the crown, but where the bandeau is to be used to make 
a better fitting crown, the short edge is sewed in, thus allowing 
the longer edge to form the headline. These are more generally 
used in small crowned hats. 

It would be impossible for us to make set rules for each 
individual to follow with respect to bandeaus, as they vary in 
size and shape according to the hat and to the style of the 
wearer. In view of this fact, it is advisable for the individual to 
cut out a number of different shapes, pinning each into the hat 
until a satisfactory one is found. This is done in all of the larger 
millinery stores, they keeping a number on hand of different 
widths and shapes. When trying these bandeaus they should be 
pinned firmly into the inner edge of the crown with millinery 
pins before attempting to fit the head. 




Covering the Bandeau. 

After a bandeau is procured that answers the requirements, 
you proceed to wire and cover it. Sew a cotton wire around the 
edge by means of the long overcasting stitch, passing the wire by 
and fastening on the side that sews to the hat. To cover it, 

which is usually done with vel- 
vet, lay it down on a piece of 
material and cut around it, al- 
lowing an inch with which to 
turn over the edge. Baste and 
V sew this at the same time by 

catching first into one edge and 
then across into the other. Of 
course, this is done on the 
wrong side which is afterwards 
finished with a jiiece of material, cut the shape of the bandeau 
turned in and hemmed down onto the back or wrong side of the 
bandeau, within about a half inch from the outside edge. 

If the bandeau is not too wide the crown lining may be 
brought down and made to finish the back. 

—35— 




Preparing and Selecting the Trimming 

Were it possible to lay down certain rules governing the 
selection of trimming to be worn by people of various ages and 
styles, it would be well worth the effort as there is probably no 
one thing so frequently violated as good taste along this line. 
This being impossible, the next best plan is for each individual 
to become familiar with the material best suited to her age and 
style and thus lay down her own rules to be carefully and faith- 
fully followed. 

It is always essential before selecting the trimming, as well 
as the hat, to study carefully the current styles, as millinery 
goods are ever changing and judgment demands that the styles 
be observed and followed as much as practical. There are times, 
however, when it is an unwise thing to attempt to follow what 
is erroneously termed good style, as some seasons are given up 
almost entirely to fads, which to follow requires an endless ex- 
penditure of money. It is by far wiser to put the same amount 
of money into a good piece of velvet, ribbon or plume than to 
attempt to follow Dame Fashion in her extravagant race after 
fads. One should always bear in mind that the neatest dresser 
is the one who makes it a rule to scrupulously avoid all fads and 
trashy articles, saving the equivalent to invest in the best of ma- 
terials when buying. 



Plumes and Feathers. 



Feathers being among the expensive articles in the milli- 
nery line, it is well to know how to tell a good plume from an 
inferior one. A plume that will give good returns for the money 
has a heavy, even top with a long wide fiber of even length. The 
best of these are taken from the male bird and are arranged into 
what is known as the '"French topped plume." The fibers should 
be of equal thickness the entire length and the plume be well 
stayed with the wire at the base. The cjuill on the under side runs 
the entire length rather than being in short pieces. 

For those who may not know, it is well to state that there 
is no plume that comes without two or more quills being sewed 
together, as it is thus in single quills, they are plucked from the 
bird, the difference being in the length of these quills and in the 
number necessary to get the required weight, the cheaper ones 
being known as the pieced feather, due to the number of short 
pieces recjuired to give to them sufficient weight. It is for this 
reason one is often told that all plumes come pieced, and this is, 
as you see, in a measure true, but this does not necessarily mean 




a combination of small 
pieces. 

A cheap plum.e can be 
recognized from the thin, 
tapering top and the nar- 
row, thin fiber. This 
plume is also curled high so as to 
deceive the buyer as to the 
weight. It is much more eco- 
nomical to have one good full 
plume than three small ones, as 
a good one will last a numbe'- of 
seasons with careful wear and 
still look well while the cheaper 
ones are apt to lose their cirl 
after the first few times wearing. 
While plumes may at the time of buying seem a trifle ex- 
pensive, they may on the other hand be looked upon as perhaps 
the most economical trinmiing in which to invest, as there is 
nothing that recjuires so little accompanying trimming, that stays 
m style or that has the wearing quality, as does the good plume. 




Wiring the Plume. 



When a plume is to be used on a hat for high or standing 
trimming, it should be wired that it may stand the force of the 
wind without breaking. To do this, a piece of fine, silk ribbon 
wire is fastened to the wire at the base of the plume, after which 
it is allowed to follow the quill on the under side to within two 
or three inches of the tip. This wiring is done by passing the 
thread around rather than through the quill so as to avoid break- 
ing it, then bending it to the exact sweep of the plume. The 
wire at the base should be well secured before sewing to the hat. 
It is best to wrap the wire around the finger and in this shape 
sew to the hat thus preventing it from turning after being sewed. 



Other Feathers. 

There is a vast difiference in the buying of what is known as 
the coque feathers and the wing. A good feather has a wire at 
the base and also one running to each small group of feathers 
throughout the entire bunch, thus securing them against the wind. 
A cheap one is wired at the base, to provide something through 
which to sew, but the small feathers are merely pasted onto 
a wired piece of buckram or paper. 



-37- 



A wing or breast oftentimes after a season's wear, seems 
frail and unfit to be used a second time; these may be made to 
look like new by sewing onto the back a fan shaped or fitted 
piece of buckram and onto this attaching the loose feathers. 
This piece of buckram is set against the crown or backed up by 
other materials when trimming. 




Flowers. 

Flowers are usually bought with the idea of wearing but the 
one season. It is best, however, to invest in at least a good qual- 
ity, as oftentimes one finds it convenient to mix in a few of the 
left overs here and there when trimming the next season's hat. 

There seems to be an erroneous idea concerning the value 
and durability of flowers, it being to the effect that they, to be 
good, must be of silk or velvet or a combination of the two. 
Nothing is farther from the truth, as some of the most expensive, 
imported flowers are made of muslin. It is equally true that 

some of the highest priced, im- 
ported flowers fade when expos- 
ed to the sun quite as readily as 
many of the cheaper ones. 

There are seasons when the 
spring and summer months, re- 
luctant to go, leave behind them 
a vistage of their loveliness in 
the form of the buds and flow- 
ers. There seems ever to be 
that wholesome and refreshing look about millinery goods during 
such a fall or winter season, and there is nothing more appropri- 
ate and becoming than a bunch of rich velvet flowers nestled 
or half hidden among the richer folds of velvet. 

There are seasons when fruits hold a prominent place in 
nature's trimming. These are pretty though not always durable, 
as oftentimes the fruit will drop from the stem after but a slight 
exposure to the dew, while others will apparently melt and lose 
their shape after a few times wear. This is, however, not always 
the case as some sprays will last and keep their shape for several 
seasons, the price governing this to a great extent, as sufficient 
work cannot be put onto a poor article to insure its durability. 
When desired, trimming of this kind is especially appropriate for 
spring and autumn wear and for the grown up woman rather 
than the child. 




Velvets. 

When buying velvet for trimming purposes, it should under 
all ordinary circumstances be bought on the bias, as all folds, 
standing loops, facings, etc., are cut in this way. When buy- 
ing material on the bias, bear in mind that a fourth of a yard 
on the outside edge is less than that amount when measured In 
the center; therefore allowance should be made for this when 
buying. 

When loops of velvet are to be used upon a hat in such a 
way as to conceal the wrong side, they are made by cutting the 
velvet on a true bias, as wide as desired, folding the edge down 
but once and cat-stitching it on the wrong side by catching into 
the back of the goods only. Should the wrong side be turned 
so as to be seen, it may be faced on the back with silk or satin 
of the same color. To do this, place the right side of the silk 
and velvet together and with needle and thread run around the 
edge, when it may be turned to the right side. Oftentimes the 
end of a piece of velvet needs finishing; this is done in the same 
manner, being careful that the unfinished end of the silk or the 
end that goes back into the loop, is left long enough to come well 
up into the gathers when brought back into place. 

When desiring to wire loops or ends finished in this way, the 
wire is placed between the outside and lining after these have 
been sewed together and turned ; afterwards stitching close to 
the wire to hold it close in the edge. This finishing gives a de- 
cided tailored effect and is easily kept in place. 

More will be said concerning this feature under the head of 
"Wiring and Making Bows." 



Chiffon and Other Soft Materials. 

There seems to be an ever increasing demand for the light, 
airy materials, such as chiffons, molines, etc. This is due to their 
adaptability to fill in the little places impossible to the use of other 
materials. 

Of all these, chift'on apparently takes the lead, being more 
durable and more capable of being renovated than most of the 
others. Before buying goods of this kind the buyer should 
ascertain exactly the amount desired, as to buy more than one 
needs is like throwing that much away, as after it is cut from the 
piece it is of little possible use in the future. 



J*w. 



When chiffon is desired to be 
tucked, there should be just the 
amount of the tucks allowed in 
buying. As for illustration; if ten 
i one-half-inch tucks are desired, ten 

'^'^^ J^ h^'--^ inches extra should be allowed 

when buying, or if ten one-inch 
tucks are to be had, twenty inches 
extra should be allowed. 

Chiffon or other soft materials may be tucked by basting 
it onto a piece of paper, lengthening the stitch on the sewing ma- 
chine and thus stitching in the tucks, afterwards tearing off the 
paper. Gathering or shirring may also be done on the machine 
by lengthening the tension or lower thread. 

When rolls of tucked chiffon or other soft goods are to be 
used, they may be rolled over pieces of left over silks with the 
same effect and with less goods. A very little padding may also 
be put into double rosettes made of silk or other light goods, thus 
separating the sides and giving a fuller effect. 

When gathering soft materials, ribbons, silks, etc., to be used 
for rosettes or ruffles they must be gathered each piece or edge 
separately, as to gather them in a seam or on the same thread, 
causes one fold to lie within the other, thus using more material 
for the same effect. 



Bows and Loops. 

Wired lace bows trim full and pretty on large hats and are 
made by rolling a piece of wire or basting it well into the edge of 

the lace or net and then piping 
it with velvet. The velvet cov- 
ers the wired edge and also gives 
a pretty finish to the loop. 

Silk loops are often finished 

with a straw edge to match the 

straw used in the hat. When 

very soft materials are used, it 

oftentimes requires even three or four thicknesses to hold the 

silk in the loop and to keep its shape between the wires. 




Quills. 

Quills are a very durable trimniitig iu which to invest as they 
stand the weather and are not easily soiled. They are also quite 

inexpensive and make an ex- 
cellent trimming for a tailored 
or common hat. While, as 
stated, they are reasonable in 




price, it is well to know that 
wdth a little originality they 
can be made as well as bought. 
They are often made of straw 
braid to match the hat, by cutting a piece of buckram the size 
and shape of a quill, and upon this sewing the braid. They may 
also be made of satin or taffeta by cutting a pattern the shape 
of a quill and laying this onto the material doubled, that the two 
sides may be alike, as well as making a better body for the quill, 
and then running a heavy wire through the center and stitching 
on both sides of this. The wire holds the quill in shape and gives 
something through which to sew to the hat. The veining is then 
made by means of the machine and the edges are left plain and 
imfinished. 



Millinery Folds. 

Millinery folds being used in various ways of trimming, as 
on many other articles of wear, it is necessary that one be familiar 
with the manner of making them. Take a piece of bias goods, 
being sure that it is on the true bias, say two inches wide, and 
with this fold one edge to the center and baste. Turn under the 
other edge and lap onto the first folded side sufficient to allow 
of blind stitching. These are used (very small) in finishing the 
edges of hats or loops, as well as trimming dresses, etc. 



Wiring and Making Bows. 

What gives to the hat more character and style than perhaps 
any other one thing, is the manner of wiring and making bows. 
This is true of every style, be it of wide, narrow, soft or firm 
material, as all bows follow the same principles in the matter of 
construction. 

When buying ribbon to be used for loops and ends, it is well 
to remember that wide ribbon requires a less number of yards 
and makes a prettier bow than the same aiuount spent in more 
yards of narrower goods. 




To make a good bow, the loops should be made separately 
(though not cutting) and of unequal lengths; they should be of 
goodly proportion rather than a small "wudgy" affair, yet that 
they have not the appearance of being used for flying. 

To wire the end of a rib- 
bon, pass a small, silk wire a 
half inch past the end and 
double back, thus preventing 
the ribbon from slipping down 
the wire after being sewed to 
the hat. The wire is then 
sewed into the edge by slight- 
ly rolling it and catching it down with long, loose stitches on .the 
under side of the wire. The wire is then drawn down tightly 
on the unwired side and a strong thread passed around it several 
times. The end is cut slanting across from the unwired side to 
the wire. 

Loops are wired in various ways, as for illustration, one is 
made by continuing the wire on down the side of the ribbon the 
entire length of the loop, afterwards drawing and passing a 
strong thread aroimd several times and fastening. They are 
also made by passing the ribbon over wires bent, as shown, and 

then gathering the ribbon and 
^^"^ " - - wires between the thumb and 

' I / "^ / fingers, winding the thread 

around several times and 
fastening. When the ribbon 
is passed over the wire in this way, it should be brought down 
tight that the wire may be held in place. After this is done the 
wire may be invisibly caught into the top of the loop. Loops 
are correct when wired on either or both sides but are not grace- 
ful when passed over a perfectly flat wire. They should rather 
be given the benefit of more movement. After the required 
number of loops have been made, they are fastened securely in 
the center with wire or very strong thread and then finished 
with a graceful twist or knot of ribbon. 

It is not economical or necessary to cut the ribbon into short 
pieces when making it into bows, as to do so only wastes the 
material and is of no particular advantage when it comes to the 
effect. 

—42- 



rf 




Ornaments. 

A frail ornament that will apparently not stand the strain 
of tnmmmg may oftentimes be fastened to a velvet covered 
piece of buckram and thus sewed to the hat. 

Buckles or ornaments used in 
hat trimmings do not require that 
the ribbon be cut in passing 
through. It is better to pass an 
extra piece of the same material, 
which is being used for the trim- 
ming, through the buckle, after 
which it is fastened to the hat. 
This gives the same effect with- 
out the necessity for cutting it. 
Buckles and ornaments being a luxury rather than a neces- 
sity, are often dispensed with; the ingenious woman may, how- 
ever, have these little luxuries with very little trouble and ex- 
pense by making them herself. As for illustration-large buckles 
may be made from the soft straw braid used in the construction 
of the hat by sewing it onto a piece of buckram cut into the de- 
sired shape. 

Taffeta or satin may also be used to make ornaments of 
this kind. 

Braid or silk may be used on the semi- 
tailored hats to cover buttons and other 
ornaments, while buttons, etc., used 
among laces and velvets for fancy trim- 
ming, may be fashioned from small 
flowers sewed onto a piece of buckram. 
Such hints as the foregoing are given 
with a view to teaching the pupil observa- 
tion and originality that she mav not find 

It necessary to purchase all of the little articles used on what is 

termed expensive millinery. 




Trimming the Hat 

In no other branch of millinery work is the woman given 
the opportunity to display her own taste and individuality as in 
the tnmmmg of the hat itself. Certain rules or limitations there 
are which in a measure govern all other branches of the work 
but in this she is given the limit of possibilities to create what 
lies within the scope of her power and ability. 



-43- 



As soon as the woman decides to be a milliner, she should 
at once begin her study in observation. By this we mean 
that she should upon seeing a hat that particularly pleases her, 
make a note of it either in her memory, or better still on paper, 
this to be used as a suggestion at some future time in designing. 
This will also assist her in overcoming little peculiarities char- 
acteristic of her style and taste which might otherwise be carried 
to the extent of freakishness. It will also aid her in developing 
her own personality along the special line of millinery. The 
study of the styles and charts sent out at the beginning of a 
season will help very materially in this work, but as one is 
never able to produce exactly the effect of the original, she 
should be prepared to put her own personality into the work, 
thereby producing one equally as good. 

To make the work of trimming the hat easier, thread a 
number of medium coarse needles with a strong, double thread, 
placing them within easy reach. This may at first seem unneces- 
sary but its importance will be apparent when, after several at- 
tempts, the milliner succeeds in getting the trimming satisfactor- 
ily placed, only to find that she has not enough thread in her 
needle with which to fasten it. 

What is termed "basting" in other work, is termed "sew- 
ing" in millinery as the stitches are not required to be small, 
but must be invisibly placed. The amount of sewing necessary 
to apply the trimming should be sufficient only to withstand the 
hard winds, as the more stitches, the worse will be the condition 
of the trimming when removed. This is especially true of velvet, 
ribbons, etc. A less "pasty" appearance is given to the hat if 
more pins and less thread are used in the fastening down of 
loops and ends, as well as all other places where firm sewing is 
not required. Millinery pins are used for this purpose and may 
be invisibly placed by catching into the back of the material 
and then into the hat. 

One of the difficult tasks in trimming is to hold the hat in 
a manner not to disfigure the trimming already placed, or the 
hat itself. This is made easier by fastening it firmly to the 
skirts; the left hand will then be free to hold the trimming in 
place while the right hand sews it to the hat. Another way is 
to take a firm piece of muslin or ticking about four inches wide 
and as long as required and tack this to the upper part of the 
window sill and to this pin the hat ; it should be pinned to the 
strip through the brim at a place about even with the arms. 

-44- 




A hat to be a success is a unity of graceful lines and curves, 
and while observation and time will do much toward teaching 
the woman the essential points necessary to a general knowledge, 
It is well that a few suggestions and rules be given in order that 
her observation be turned to her best possible advantage. 

When applying trimming to a wire frame, pass the thread 
around the wire as the force of the wind will tear the fine ma- 
terial used for covering. If the sides of the crown are entirely 
concealed, a band of buckram or capenet may be placed on the 
inside through which to sew the trimming; otherwise a small 
square which will answer the same purpose. 

Before stretching a tight band 
around the crown of a wire frame, 
place around it a band of equal 
width of capenet or other material, 
that the wires may not be visible 
from the outside. 

Too much trimming should not be 
put upon a chiffon hat as the fullness of the material makes a 
pretty trimming in itself. Such trimming as is used should be 
of the light, airy order. Ostrich plumes make an excellent 
trimming for the chiffon, or lighter straw hats such as the Leg- 
horn, Chip, etc. Wired lace or net loops, with edges finished 
with satin, make an excellent substitute for the ostrich feathers 
and are much less expensive. If black is to be used, the best 
quality of black lace or net only should be used, point d'esprit 
being especially recommended. The larger the hat, the more 
trimming is required. 

Wings or quills are much prettier on the heavier straws 
than on those of lighter material; for this reason they are es- 
pecially adaptable for spring rather than summer wear, being 
later superseded by the ostrich plumes, flowers, etc., on the chiffon 
or lace hat. Flowers are not as a rule used with wings, quills, 
or other feathers of this kind, these being much prettier when 
finished or accompanied with knots and loops of ribbon. If the 
broad effect is desired, do not shorten it by finishing a pair of 
wings with a large rosette placed at the base. 

When wings or breasts are used, cover them first with mo- 
Hne, as the best of feathers will rarely stand the force of the 
wind for the entire season and still look well. The breast is 
covered entirely by wrapping one thickness of moline over 
it smoothly, lapping past and fastening it in the back. Wings 
are covered in the same manner except that the ends of the 




wings are left free, the base being the part necessary to protect. 
Do not hem or try to finish the edge of the mohne where it 
comes across the face of the wing. 

All flower hats or hats 
made with flower crowns, 
require little if any trim- 
ming. 

Generally speaking, the 
main part of the trimming of 
any hat is placed on the left 
side, as is also the turned up 
portion of the brim. Sailor 
bows are also placed on the left. 

Crowns are finished in many ways varying according to the 
requirements and taste ; one very pretty way is to stand a double 
ruffle or pleating against the crown, finishing at the base with a 
narrow band of velvet ribbon. Wide velvet or silk ribbon may 
also be used in this way. Another way is to crush a third of a 
yard of soft material around the crown, 
finishing at the side with a rosette or 
ornament. Scarfs made of ribbon, chif- 
fon, silk, or any soft material, make an 
excellent way to remodel an old, or trim 
a new hat. These are laid loosely over 
the brim and draped carelessly over the 
crown, being finished at the side with a 
bow with or without ends, as desired. 
When brims are turned high at any 
place, the space between the hair and hat should be filled in with 
either ribbon, flowers, or other light material. The finer flowers, 
or light materials, such as molines, chiffons, etc., are generally 
used near the face, giving a pretty finish to the skin, while the 
larger flowers and ribbons are reserved for the back. 

A black velvet covered bandeau is considered in good taste 
for any hat that requires one, regardless of the color of hat or 
trimming. For a narrow bandeau used only to give a tilt to the 
hat, or to give the proper fit to the crown, a very loose double 
knot of velvet ribbon with ends pulled out and fastened, is con- 
sidered sufficient trimming, this being used only to cover the 
plain appearance of the bandeau. 

While much of the character of the hat depends upon the 
wearing of the bows, a great deal also depends upon the manner 





of handling the unwired loop, as for illustration — the narrow 
ribbon velvet loop can be made to look long and stringy, or it 

may be made to lie 
up in a natural and 
graceful curve. 
This difference is 
due entirely to the 
manner in which 
the two are fas- 
tened to the hat ; 
these should be pinned rather than be sewed if the proper effect 
is to be had. The loops should be made to lie up from, rather 
than flat upon the hat. This effect is gained by placing the pin 
in the end of the loop in the lower edge of the ribbon, and in 
this way, pinned to the hat. The loop should be spread before 
pinning and the ends cut diagonally or in a V shape. Ribbon 
velvet may be made into very effective loops and ends but cannot 
be as successfully wired and made to take the place of standing 
trimming. 

When using wired ribbon loops entirely for high trimming, 
they may be fastened high up on the crown instead of at the 
lower edge, thus saving a large amount of ribbon in the length 
of the loops. To do this requires no more extra filling in, as 
one would necessarily be required to put something at the base 
to cover the ends of the wires. 



Bows made of a number 
of loops are more graceful 
and trim much prettier than 
the same amount of ribbon 
put into a few sprawling 
loops and ends. This does 
not mean that the loops 
should be made small and 
"wudgy" as there is equally 
as little grace in a number 
of small loops clustered together, as in the other extreme. 




Ribbons or other materials, should be cut as little as possible 
when trimming; it is better when trying to produce a certain 
effect, to pass the ribbon invisibly around, or under, the other 
trimming, or even through the brim, by making a small slit, 
until it reaches the desired place. 



-47— 




When buying ribbon, always get a good grade as there is 
no one thing that so alters the looks of a hat as when the ribbon 
loses its stiffne-ss and the loops flatten. 

When two kinds of flowers are 
used, both above the brim, put the 
heavier ones below, and the lighter 
above, as, for illustration, — when 
roses and lilacs are used together, 
the lilacs should be placed above 
that the roses may not have the 
appearance of crushing them down. 

To make a flat, or sailor bow, without cutting the ribbon, 

take a piece of ribbon as long as required for the bow, bring the 

^^^^ two ends together and fasten them 

J^^^^^ exactly in the middle of the ribbon ; 

^H^^^^r this makes two large loops. Push to 

^^^^^^ the center the middle of each of these 

loops, thus making four loops of even 

length. Should you desire the loops of 

uneven length, this may be done when 

making the last two loops. The bow is 

finished with an extra piece passed over the center and fastened 

in the back. 

Black and white is a good combination and suitable for all 
seasons and occasions. 

Don't overload the hat. It is not the amount of trimming 

but the kind that counts for a 
successful hat. An over 
amount, too much of a variety, 
or too many colors will cheap- 
en the most expensive one. If 
there be but one article used 
let that one be good. 

Stiff straws are the proper 
thing for business wear. Leghorns, Chips, Chiffons, etc., having 
no place among millinery used for this purpose. Plumes also 
are tabooed for business wear as it is impossible to have them 
out in all kinds of weather, even with the best of care, without 
their looking most abjectly forlorn before the end of the season. 

No kind of trimming looks well on a hat if put on in such 
a manner that it bobs backwards and forwards with every step. 




—48- 



A short person should not afifect the broad flat trimming; 
neither should the tall person further add to her height by trim- 
ming the hat high. Very large flowers such as the cabbage rose, 
will not look well on the small or short woman but may be worn 
by the taller one ; she may also wear the hat trimmed much fuller 
than the short one. A tall woman may have large, flat hats, with 
large bows with plenty of long loops laid flat (this doe-s not 
refer to the pinning), large flowers, buckles, ornaments, etc., 
when used within reason ; sashes draped flat ; bright colors on 
the top of the hat providing they be becoming to the complexion 
and age, and much fullness below the brim. Feathers should be 
placed quite low and overhanging. Wings should be flat or 
nearly so while quills when used should be at a decided angle. 
Even bright colored facings may be used below the brim, but the 
trimming on the top should carry out the effect. 

Short or small figures may wear high crowns and smaller 
hats, high standing loops, feathers with a graceful sweep up 
and then allowed to droop; quills and wings stood nearer erect, 

less bright colors on the top with 
lines well defined ; smaller flowers 
though not in profusion ; little trim- 
ming beneath the brim and then not 
fluffy ; a very moderate color in the 
way of facings below the brim ; 
small ornaments if any; a scarcity 
of drapes and scarfs and not too much of any one color except 
black and white. 

It often becomes necessary in trimming a hat to add a touch 
here or there to tone up the luster of the hair or eyes, as for 
instance, — a touch of color added to a hat in the front has by 
contrast a better effect than the whole hat of that color. Light 
blue eyes are made much deeper by a bunch of blue flowers 
or a knot of blue velvet on the front of the hat while hazel or 
gray are much improved with a gray-green tint below the brim 
or directly in front. Brown eyes are made more lustrous with 
the aid of a narrow brown facing on a light hat or with soft 
gatherings of moline on the under side of the brim. A dead 
white below the brim fades most pale faces, while gray will make 
even young faces appear ashen. 

After successfully placing the trimming, you proceed to put 
in the crown lining. This lining when used in quantities is 
bought by the spool or bolt, but for a single hat an ordinary 
piece of thin lining, or better still, an odd piece of silk may be 

-49- 




used. Cut this about an inch larger than the crown opening; 
turn in one end a trifle to make a finish to the seam when the 
two ends meet, and begin with this end to sew into the hat, turn- 
ing the hning out and sewing on the wrong side. The Hning is 
then turned back into the crown, the other edge turned in and 
gathered into place. 



Children's Styles 



Few people apparently realize what it means to children to 
be properly and neatly dressed. It is one of the hardships of 
childhood to see a playmate in a well chosen and well fitting dress 
or hat and to find by comparison that one's own little garment 
is made with apparently no thought for the fit or style. Chil- 
dren are more sensitive to this than most people realize, even 
boys' feelings to an extent being harrowed by the sight of clothes 
better than their own. Of course, one should not make the mis- 
take of giving the child to understand that dress is the one thing 
in this world to be considered, yet it should not have implanted 
in its mind a total indifference to taste and dress by being de- 
prived of tasteful clothing. 

There is really no excuse for a child not being tastefully 
dressed, as the very cheapest of material, if properly utilized, is 
most charming. All garments for a child should be daintily, 
rather than elaborately made, and should be characterized by 
graceful and simple lines. 

Hats no less carrying out the general rule, should be simple 
and dainty and should ever be fashioned with the idea of keep- 
ing the face fresh and youthful. 



Colors to be Worn by Children. 

If one conforms strictly to what is correct they will use 
nothing but white for a girl, with the possible exception of a blue 
or pink ribbon, until she has attained the age of eight years, and 
for a boy until he has reached the age of six. 

If mothers would only remember that, in their over zealous- 
ness to make their children look pretty, they invariably go to 
the other extreme and get them up in a most grotesque fashion. 
Others there are who apparently feel that if they adhere strictly 
to blue and pink, they have done all that is required and that 
these colors may be used in profusion or not, as desired. This 
is a mistake as even these harmless colors may, in abundance, be 



worn to a decided disadvantage. No one likes to see a young, 
fresh faced, pink cheeked little miss, hidden behind a mass of 
ruffles, puffs and ribbons that could better, and with far more 
comfort to the child, be exhibited in a show window. When in 
doubt as to what color to buy, buy white and then at least in 
color you will be correct. 

After the ages of six and eight, children may begin to wear 
more colors, the lighter shades being especially recommended. 
Dark green, purple and all shades of heliotrope, violet and lilac 
should be kept off from the child and even the miss until she is 
at least sixteen. Black is for persons of mature years and not 
for children or very young ladies. Red may be used after the 
first six or eight years for hat trimmings, coats and jackets. 
Bright plaids in ribbons may also be worn by a girl after about 
the fourth year but not by boys, as designs of any kind should 
not be used for a boy. Plaids may be used for dresses after the 
first eight years and are especially good for school wear. Black 
and white is entirely too old a combination for children. Brown 
is worn after the child has passed the age of eight. 



The Kind of Hat. 

When buying a hat for a child, remember you are not doing 
it a kindness by buying one which will be conspicuous among 
those of other children for its extravagance, as this teaches 
selfishness in its worst form besides injuring the other children's 
feelings. Money should play no part in the selection of a child's 
hat except to the extent of neatness and serviceability. 

A "best hat" should be selected with the idea of going with 
the finer, daintier fabrics but not with a suggestion of being elab- 
orate. It may be made of the finer materials or straws provided 
they be serviceable, as children's hats, at best, get very hard wear 
before the end of the season at which time they must still be 
presentable. Coarse woven straws are not as good for children, 
especially below the age of six, as the fine, pliable ones. The 
trimming used should also be of the lighter order such as fine 
flowers, ruches, etc., large flowers not being used to good effect 
by children. Feathers are also not in place on a child's hat and 
cannot be worn by even a young miss to good advantage. 

For the four-year-old a small Leghorn with a wreath of fine 
flowers is quite sufficient ; later being combined with soft rosettes 
and ribbon. Tiny blue and pink forget-me-nots are also pretty 
among the soft folds. 




When buying the finer flowers of the dehcate shades, be sure 
to get those that are well fastened to the stem and will not drop 
off when exposed to the damp, or that will not lose their color 
quickly when worn in the sun. 

Ties may be used on the dress hat but are decidedly out of 
place on the school hat. Trim the hat so that it has the appear- 
ance of being light, as the light, airy hats are much prettier than 
the heavier appearing ones. Fine laces 
T or ruchings are pretty laid close to the 
face but should be of white or one of 
the lighter shades. Be careful about 
buying cheap laces for both hat and 
dress. Fine flowers make a pretty out- 
line to a baby face when used on the 
inner side of a bonnet. But one color is 
used on a child's hat unless it be in the 
shape of foliage mixed in with the flow- 
ers after the child has passed the age 
of about six. When ribbon is used on a hat, let the bows be 
medium in size rather than too large. 

A school or "every day" hat should be of the plainest possi- 
ble kind and yet be neat and pretty. The one best for this pur- 
pose is the ordinary flat hat, with a ribbon placed around the 
crown and tied in the back. This may be tied either in a large 
bow with two long loops and ends or in a small bow with long 
ends. When tied in this way a heavy satin or velvet ribbon vary- 
ing in width from an inch and a half to three inches may be 
used. Sashes may also be draped around the crown and tied in 
a sailor bow with ends long enough to hang off the back. These 
ends may be finished with fringe or tassels or may be simply 
hemmed. The sides are also hemmed unless a wide ribbon with 
finished edges is used. 

When selecting a school hat, get one that will keep its color 
and shape well for the entire season without having to be wired 
or otherwise renovated ; also when selecting any kind of a hat, 
get one that fits and sets well and that is not too heavy on the 
child's head as there is nothing more trying to the nerves than 
an ill fitting crown. This is especially true of children as their 
movements will keep even the best fitting crown in jeopardy 
the most of the time. The mother should see to this personally as 
a child is apt to be carried away with a pretty hat regardless of 
the way it sets upon the head. All hats should be made to set 
flat upon the head without the aid of the bandeau. 

-52- 




When buying the winter hat, it is always best to buy the hat 
and coat to match in color as nearly as possible, as care must 
be taken that too many colors are not used together. 

Among the prettiest hats for summer wear are the little wash 
hats, which are cool and light and easily laundered. They may 
be made fancy or plain according to one's individual taste. One 
especially good for a boy is made with a round, flat crown with 
scalloped edge, buttoned with tiny buttons onto the brim. These 

are done up out of cold starch 

with very little trouble. A girl's 

hat may be made more elaborate by 

using embroidery in place of the 

plain, stitched goods. 

A very practical way of using one of last season's straw 

or felt hats, that is not too badly out of shape, is to bend the front 

and back brims directly up, providing this can be done without 

breaking, and thus fastening together at the sides near the crown, 

afterwards covering the stitches 
I with a bow on either side. Should 

the crown be out of shape, it may 
be stiffened with a piece of buck- 
ram (see previous lesson), and a 
band the same as used on the top, 
stretched around and tied in a 
small bow at the left. 

Mothers often make a grave mis- 
take in allowing their children to 
use their own judgment as to the 
kind of hat to be worn and the 
proper time for wearing, as the 
child is by no means qualified to judge what is and is not appro- 
priate for various occasions. If given her choice she will invari- 
ably choose her "best hat" regardless of the kind of dress or oc- 
casion of wearing. The mother's superior judgment should be 
exercised and the child made always to conform to the conven- 
tional laws of dress. 




Veils. 

Veils are worn by very young children and babies to protect 
the face but are not necessary and are quite out of place on older 
children and the young miss. White only should be used and the 
material should be of the fine, sheer order without mesh. 



-53- 



Renovating 



Much has already been said concerning economy and the 
false idea often conceived regarding it. We would not for a 
moment discourage the woman in her efforts to economize, as 
lavish expenditure is unnecessary and shows an incompetence in 
business management which often brings much misery; we 
.would, however, discourage the useless efforts of the woman to 
save today at the expense of tomorrow. The cheapest material 
is by no means the most economical and is far from being the 
most satisfactory in other respects. We would advise the 
woman when buying an article to buy at least good, if not the 
best of its kind, and to avoid by all means cheap and trashy ma- 
terial or articles. 

Don't buy one yard of material expecting it to make two 
yards of trimming, as the amount saved will not begin to repay 
you for the disappointment you will feel when it is brought to 
your notice. It is far better to buy the two yards of good ma- 
terial this season and be able to clean and renovate for next 
season's wear. 

Herein will be found a number of formulas for the cleaning 
and renovating of trimming and hats in a scientific manner, which 
will prove invaluable to the home milliner. The results of these 
formulas have been found to be most satisfactory and are there- 
fore recommended for the different processes of cleaning. Dif- 
ferent formulas are given for the same purpose, this being found 
to be expedient, due to the different kinds and grades of goods, 
the chemical action varying according to the grade and texture 
of the article. A little experimenting will, however, teach the 
user those best suited to her purpose. These formulas have been 
collected from various sources at a great expense, for the benefit 
of our pupils who can save themselves a large amount of money 
by their proper use and application. 

You will note that we recommend and give formulas for a 
number of home processes in the various operations of cleaning 
which, when effective, are much better for the article being 
cleaned than when necessary to resort to the use of the more 
strenuous methods. 

When cleaning any manner of hat these rules should ever 
be observed. Never start to clean a hat without first picking out 
all the threads left from the previous trimmings, then brushing 
and rubbing thoroughly to remove every particle of loose dust. 
When rubbing use a soft cloth and rub with a smooth, even 
stroke around the brim and crown, and never against the weave 



of the straw. Lay the hat on a flat surface when cleaning and 
handle as Httle as possible. Before any of the cleaning or bleach- 
ing processes, where a solution is used, the hat should be sponged 
off carefully with pure white soap dissolved in soft water using 
as little water as possible to do the work. A teaspoonful of 
benzine to a cup of water is also very good with which to sponge 
off the hat. This should be used in the open air and not in a 
closed room or near an artificial light. After using any of the 
liquid processes of cleaning, the hat should be rinsed thoroughly, 
sponged, not soaked, with lukewarm, not hot, water, and then 
placed on a flat surface in the open air to dry. One of the most 
imperative rules in cleaning is that the hat be well rinsed. 

The following formulas will be found to be very successful 
in the cleaning of straw hats or bonnets. 



To Clean Straw Goods. 

Get a few cents' worth of common corn-meal to which is 
added enough water to well moisten. With this rub the hat thor- 
oughly and lay aside a couple of days to dry. After it is dry 
brush off the meal and the hat will be found to look clean and 
new. This is also good : A paste made of magnesia and w^ater, 
applied with a soft cloth or brush and then allowed to dry, after 
which it is brushed off with very good results. The foregoing 
manners of cleaning straw are intended to be used only when the 
hat is soiled from dust rather than being rain spotted or sun- 
burned. Hats are often cleaned in this way or by washing in 
clean soap water and afterwards treated to several applications of 
equal parts of strong black tea and coft"ee. This solution should be 
applied until the Leghorn or Milan is a rich tan. 



To Bleach the Straw. 



For a badly soiled or sunburned hat, the following will be 
found to be very effectual providing the straw be not too fine 
or badly worn to permit of hard rubbing. Take an ounce of 
oxalic acid dissolved in a quart of water and apply to the hat 
with a brush. If the hat is extremely dirty, add more of the 
acid ; this will make the hat clean and stiff. Another good bleach 
and an excellent one for cleaning the Leghorn, is to take equal 
parts of sulphur and lemon juice, and apply to the hat with a soft 
cloth. This being a bleach, it should be well rubbed into the hat, 
that it may not come out streaked. It may be found necessary to 



-56- 



use a brush to get the sokition well into the straw. The hat 
should be well rinsed before placing on a flat surface to dry. 

Another good way to treat one of the finer straws is to get 
a good oil paint and dilute it to a liquid and apply this with a 
soft brush afterwards laying away to dry. 

The rougher light colored straws are very successfully 
cleaned with a small quantity of white soap dissolved in one 
and one-half pints of soft water containing a tablespoonful of 
ammonia. 

Due to the lack of stiffness in the Leghorn, the brim may 
shrink and turn up as it begins to dry ; should this be the case, 
it may be again dampened and heavy weights placed around on 
the brim and allowed to remain there until dry. Should the 
crown seem inclined to stretch and lose its shape, it may be placed 
on a block or form with a heavy weight on the top and thus 
allowed to dry, when it will resume much of its natural shape. 
The surface used for blocking should be perfectly flat as the 
crown presses to exactly the shape of the article. Where one has 
not the regular form or block, a cloth may be folded and laid 
on top of a can or pail with quite the same results. The block 
should not be taken from the crown until perfectly dry. If the 
crown is then found to be bulging in the top, it may be again 
dampened upon the block and with a cloth spread over it, a 
hot iron applied, moving it over the surface until perfectly dry. 
The iron should be only moderately hot as the dressing in the 
straw burns quickly. Should it be found necessary, the brim 
may also be pressed in this way, except that it be laid on a flat 
surface. One of the easiest ways to dry a crown that is not too 
badly out of shape, is done by crumpling small pieces of paper 
and filling in the crown until exactly the original shape, when it 
is then laid on a flat surface to dry. Too much care can not be 
taken in the handling of the hat, as the straw stretches badly 
when damp. Never put the hand into the crown when either 
is wet. 



Bleaching Rough Straw. 

The method perhaps most frequently used in the bleaching 
of men's hats or rough straw goods, is to expose the hat to the 
fumes of burning sulphur. To do this place a pan of live coals 
in the bottom of a barrel and over this pour a goodly quantity 
of sulphur. The hat is washed in clean, cold water to remove 
all dirt or dust and then suspended from a cord, which may be 
tied to a stick and laid across the barrel. The barrel is then 

-56— 



covered tightly and left for some time when the hat will be fonnd 
to look like new. The hat should be looked at occasionally and 
care should be taken that it is not too close to the burning sulphur. 
Stifif straws may also be immersed in a solution made from equal 
quantities of oxalic acid and common table salt reduced by a 
quantity of water, and allowed to remain about an hour, when 
they are taken out, rinsed and laid on a flat surface in the shade 
to dry. 

After any of the bleaching or cleaning processes, light straws 
may be improved with an application of the white of an egg 
applied with a soft brush. 



Varnish. 

An old black may be made to look like new by applying the 
following varnish: Alcohol four ounces, and pulverized black 
sealing wax one ounce. This will dissolve better if put into a 
bottle and kept in a warm place. It should also be shaken occa- 
sionally. Before applying the varnish, the hat should be well dry 
cleaned. If it is applied in a warm place, it will dry faster and 
with a better gloss. A black hat that looks old and rusty will 
also be much improved if treated to a couple of applications of 
common liquid shoe blacking, allowing it to thoroughly dry after 
each application. Olive oil, to which has been added a little black 
ink, is very good when applied to any of the finer straws with a 
soft cloth. A black straw which is badly soiled from the dust, 
rather than faded, may be much improved by washing in a solu- 
tion made from a teaspoonful of alcohol to a pint of soft water 
and afterwards sponged off with glue water. 

The color may be restored to a blue straw or made a deeper 
blue by using common bluing and warm water of the consistency 
desired. 

Coloring the Hat. 

After a hat has become old and faded, one is apt to think 
it of no further use and thus cast it aside. This is unnecessary 
unless the straw is badly broken or worn. A light colored hat, 
though badly soiled, can be made into most any desired color 
if it be of a darker shade than the original. 

Successful coloring may be considered an art in itself and 
should be carefully done if one would obtain the best results. 
There are failures in all kinds of work and one must not feel dis- 
couraged if, with the first efforts, the results are not up to ex- 
pectations. 

-57- 



Some straws are much more easily and successfully colored 
than others. For example, a soft straw takes readily to the dye 
and makes an even, pretty shade, while a straw with a hard, 
glossy surface takes much longer and is much harder to success- 
fully color. Oftentimes this firm, satin straw is seen running 
through a fine braid. This braid when colored will usually 
take a beautiful color except for the one straw which will remain 
about two shades lighter than the other or finer part. This two 
toned, efifect is not at all unpleasant and may sometimes be thought 
to be an advantage as the trimming may be carried out in the 
lighter sha<ie. 

There are a great many formulas for coloring straws but the 
ordinary dyes will do equally as good work and are less expensive 
as well as being much less trouble. To do this successfully it 
should be done as follows : Clean the hat thoroughly, removing 
every particle of dust and thread, and place in quite warm water 
for a period of about fifteen minutes. This is done to soften the 
straw. Make the dye according to the directions on the pack- 
age. After the straw is well softened, place it in the dye, turning 
over and over as it boils that all parts may be evenly colored. 
After boiling the required length of time, thoroughly rinse and 
place in the open air to dry. If the color is not deep enough, 
a little more dye may be added and the hat again dipped. 

A hat may be made a good black by boiling four hours in 
strong liquor of logwood, with a little copperas added occasion- 
ally. 

Ribbons. 

There is no article about a woman's wardrobe as often 
bought and as quickly cast aside as ribbons. They become soiled 
and the verdict of "useless" is pronounced upon them, and others 
are bought to fill their places. If these ribbons can be saved with- 
out sacrificing our respect for neatness, it is a duty we owe to 
ourselves to do it. 

To freshen and renovate ribbons is not difficult and requires 
only a little practice to become quite proficient in the art. Some 
very good formulas are given below. Probably one of the most 
successful ways to clean ribbon is to "board" it. This is done 
by laying the ribbon in clear water until thoroughly soaked and 
then with a soft cloth rub it carefully onto a clean, smooth board. 
Care should be taken that no fold or crease is rubbed into the 
ribbon as this breaks and injures the texture. The ribbon being 
applied to the board while dripping, it is advisable to set it in an 
upright position that the dirty water may not be allowed to dry 

—58- 



in. Place a couple of pins in the top as the ribbon will drop off 
the board when dry. The door casing will be found to be a 
very convenient place upon which to board ribbon. If the ribbon 
IS badly soiled, a little ammonia or benzine put into the water 
will improve it. When removing the ribbon, it should be rolled 
and not folded. It will be seen that this process has a way of 
restoring the dressing unequaled by any other. If ribbons are 
extremely dirty a number can be placed in a can of gasoline and 
allowed to stand, shaking occasionally. There should be but a 
few put into the can at a time as to crowd them injures the tex- 
ture. Gasoline should always be used in the open air. Badly 
soiled ribbons may also be cleaned by taking a teaspoonful of 
soap bark to a pint of boiling water, allowing this to stand until 
dissolved ; after which it is strained, and out of this the ribbon 
is boarded as above. If the colors are crimson, scarlet or yellow, 
a few drops of oil of vitriol may be added to the rinse- water 
thus setting the colors. When washing ribbons, silk, laces or 
other light materials, it is often necessary to add a small quantity 
of either alcohol, benzine or household ammonia in order to cut 
the grease. Either of these will be found to be superior to gas- 
oline as this frequently leaves the material with a gray cast. 



Silk and Satin. 



A great saving may be made by the proper care and cleaning 
of silk. Some very good methods for doing this are herein given. 
Silks, as well as ribbons, may be cleaned by taking equal parts 
of soft lye-soap, alcohol and molasses. Rub the mixture well into 
the goods with a flannel cloth, afterwards rinsing well in clear 
cold water and ironing on the wrong side before dry. A formula 
very similar and that has the same results is, to one-fourth 
pound of soap add one teaspoonful of sugar and a large coffee 
cup of alcohol. The dust should be thoroughly removed before 
trying any of the cleaning processes. Hot coffee, from which 
all sediments have been removed, is very good with which to 
sponge silk. The coffee removes the grease, and restores the 
luster. Sponge with stale beer to remove the shine caused from 
wearing. Gasoline may be used without injury to the silk; it 
should be rubbed into the goods with another cloth, as to rub the 
pieces of silk together injures the texture. When taking from 
the gasoline, it may be dried by shaking or pounding between 
cloths but never by wringing. Badly spotted silk may be cleaned 
by rubbing very hot bran into the soiled parts, afterwards shak- 
ing thoroughly and then rubbing with French Chalk. It should 



—59- 



then be rolled up and left to stand when it will come out clean 
and soft. Satin or silk may be cleaned with magnesia or by rub- 
bing thoroughly with stale bread crumbs and powder blue mixed, 
afterwards cleaning with soft cloths. The rubbing of the satin 
should always be done with the grain. It may be pressed on 
either side without injury. 



Velvets. 

The care and renovating of velvet is another important sub- 
ject. Although permitting of less cleaning than most other 
materials, velvet is a durable one to buy as it soils less easily 
and can be kept to look well for a number of seasons. 

The crushing or matting of the pile is the most important 
feature about the care of velvet. When the nap or pile, as it is 
called, becomes crushed it may be easily restored by holding the 
velvet right side up over a pan of steaming water, during which 
time the pile should be lightly brushed up with a soft brush. 
Equally as good a way is to invert a very hot iron, over which is 
placed a wet cotton cloth. Over this pass the velvet, right side 
up, brushing lightly until the pile begins to loosen, when it may 
be laid on a flat surface and the brushing continued until re- 
stored to its original luster. Crushed straw braid may also be 
handled in this way. When handling velvet or soft straws, care 
should be taken not to press down the pile with the wet fingers. 

To clean spots on velvet, take pure turpentine and with a 
clean cloth sponge a small place at a time, wiping immediately 
and in this way continue until perfectly clean. It should then be 
hung up in a warm room to dry. If necessary the pile may 
afterwards be raised with the steaming process. 

Velvet cannot be pressed on either side without injuring it. 

To dye velvet or velveteen is a very expensive operation and 
can be done successfully only by an expert. It is then rarely 
successful and, generally speaking, does not pay. 



Feathers and Plumes. 



What is considered to be the most important subject in this 
feature of millinery work is the care and renovating of ostrich 
feathers. This, of course, is due to the amount of money ex- 
pended in this class of goods, and should be given such time and 
care as befits a subject of this importance. 

-60- 



One should be very careful in curling or otherwise caring 
for feathers not to break the fiber, as a good plume is easily 
ruined in this way. To curl a feather, start at the base, picking 
up only a few fibers at a time, say four to six, and with a feather 
knife, otherwise a dull knife, proceed to curl them. Curl only the 
ends by passing- them lightly over the knife. Don't spoil the 
feather by trying to make the curls pile up, for as a rule, the 
fluffier the fibers the cheaper the plume. 

Light colored feathers may be cleaned by shaking them in 
a sack containing flour, meal or magnesia. They may if neces- 
sary be washed but first try shaking them up and down in a 
clean bowl or pail of gasoline, as this generally cleans them 
beautifully and when hung up in the open air will become light 
and flufify. 

A light colored feather may be successfully washed by 
using soft water and pure white soap. Make a fine flaky suds, 
after putting into the water a few drops of ammonia to soften it. 
Dip the plume up and down in the suds until perfectly clean, 
afterwards rinsing well and drying in the open air, when it may 
afterwards be curled. The plume should under no circumstances 
be washed in hard water. The daintiest of colors may be washed 
in this way. White breasts or wings may be improved when 
soiled with the dust, by rubbing carefully with French Chalk 
to be had at any drug store. 

To bleach feathers, leave them from three to four hours in 
a tepid, diluted solution of bichromate of potassa to which is 
added a small quantity of nitric acid. If this leaves the feather 
with a green hue, place it into a weak solution of sulphuric acid, 
after which rinse thoroughly and dry. By this process, if prop- 
erly done, the feather will become a pure white. 

Feathers may be dyed in the same manner as straw braid if 
carefully done, but perhaps the most successful way is to mix 
common tube oil paint with clean gasoline until the desired shade 
is procured and into this immerse the plume after which it is 
hung out in the open air to dry. 

Renovating of any kind of materials should be done care- 
fully and with plenty of time to pass through the various pro- 
cesses. Care should also be taken that the utensils be absolutely 
clean and free from dust. 

-61— 



Miscellaneous 



Hats should be given the proper care to preserve their looks 
throughout the season; they should be dusted carefully after each 
time worn, the loops straightened, and then laid away in boxes 
or other clean places. If damp or wet, always dry a hat before 
putting away, by wiping off as much of the moisture as possible 
with a clean, soft cloth and afterwards hanging a short distance 
from the fire to dry. 

When feathers are worn in the evening, or out in the damp 
air, immediately upon returning, shake them over the hot air of 
an open register or grate. This dries them quickly and restores 
their fluffiness. Feathers are also greatly preserved by hanging 
frequently in the open air. Select a perfectly dry day with but 
little wind. To prepare against an unexpected shower where 
one has nice plumes to protect, it is well to fold a chiffon veil 
as small as possible and pin into the crown of the hat, to be 
used in such an emergency. 



Veils. 

The buying of veils is very important along the line of mil- 
linery as the color and kind worn make a very great difference in 
the appearance of the complexion. If veils are not to be worn 
to a disadvantage, they should be selected with great care. Black 
or white, or a combination of the two, is always a safe choice 
and may be worn by most people. While they are to be had 
with both black and white dots, the black, when not annoying 
to the eyes, is especially good for elderly people. 

When selecting a colored veil, the usual precaution should 
be taken against inharmonious effects in connection with other 
colors, as well as the effect of the color when worn over the face. 
One should always go the farthest way around anything that 
will result in a person looking stagey as nothing is in good taste 
that produces this effect. Bright shades, large dots or figures, 
or wide intricate borders invariably effect this and are too ex- 
treme in fashion to be safely indulged in. Red, purple, or other 
bright shades, give an overdressed appearance but are especially 
disastrous when worn over anything but a faultless complexion. 
Light blue and pink over a young face as a rule increases the 
color and produces a fresh look to the skin. Cream is perhaps 
less trying to the complexion than a dead white. A black veil 
has more style and is becoming to more people than any other 
color, and when worn for looks alone, should have a single 

—62— 



t cad, Miuare n,e,,I,, with small dots placcl ,„oderately far apart 
All black vcis arc f.,r adults a,ul should „o. ho worn by 'he 
young Mtss. When a border ,s worn at all, care should be L 
that the draptng does not brhtg it across the mouth neTthe 
should ,t be draped too low ; thus it is seen that the bo derm 
be narrow , worn at all. Too close a texture is apt to m 
he sk,n -ook wrinkled. Dlaek yeils arc better for tr yemt 
bcnrg less easdy so.lcd, but the white one is a better pro ^i 
to the eyes and against sunburn. When buying, rcmcmbe tta 
one good v«l wdl out-wear two cheap ones. 

To finish the ends of the veil, haste in a hem about an inch 
deep, afterwards basting to a piece of paper; lengthen the sit h 
on the sewtng machine and stitch across; the paper n.ay th be 
torn from the back and the hems pressed with a warn, iron 

When remoying a veil from the hat, roll, rather than fold it 

Veils mav'b" " T^'"' "' '"'P^ '° ^''^ ''^ ""S'n.l width 
stu d be ^"'""1'"'"^""^ ^"■•"°"' '■'i'-"g "- '-ture, hut 
hould be done w,th a moderately hot iron. Should the iron 
st.ck, lay over ,t a sheet of newspaper. Chiffons and other fine 
materials may also be pressed in this way. 

of be'ers''"'.'! *'■ '?'* "" °"hiff°"s. pass it through a solution 

of beef s gall and water, and then through a solution ma<le by 

.ssolvtng a sma piece of glue in boiling water. A small c, an 

t ty of gasohne, benzme or ammonia, in water will akso restore 

stiffen , . .Squeeze, but never wring, a veil ; gradually pull into 
shape wl^n drying, and while yet a very H„Ie damp (not w 
press It between papers. '* 

To restore crape, pass it through a hot solution of equal 
parts of skimmed milk and water to which has been added 
small piece of glue. The wrinkles may be removed bv rolling i 
onto a roller and thoroughly steaming it, leaving i, thui until dry. 

With the Needle. 
Much of millinery work re<|uiri„g a <l„uble thread, it is 
well to know that many knots are avoi.led by first cutting from 
he pool a length of thread, doubling and passing the two ends 
twisted together back through the loop of the double U,read 
This forms a tiny kot at the eye of the needle, but one whiel, 
will readily pass through any ordinary fabric. When desiring 
to use a double silk thread, always thread two strands into he 



needle in the place of one ; put the point of the needle back 
through the silks nearly midway of the threads forming a tiny 
knot, but insuring against tangling. Always thread a needle 
with the last end off of the spool. 

Before starting to use the sewing machine, take a double 
piece of cloth about three inches in width and pin this tightly 
around the arm of the machine near the spool ; into this, stick a 
number of pins within easy reach when wanted. 

Laces and most other fabrics may be gathered by lengthen- 
ing the stitch on the machine and stitching along the edge to be 
gathered, then pulling up the shuttle or lower thread, to form 
the gathers ; this makes a much prettier gather than the machine 
attachment used for this purpose. If the material to be stitched 
is very fine, lay a piece of newspaper on the under side to pre- 
vent its puckering. 

One should not attempt to stitch a bias seam without first 
basting, as it is sure to form puckers that no amount of ironing 
will entirely do away with. Paper laid next to the feed will many 
times prevent a bias seam from stretching. 

The mending of laces, or fine fabrics, is much more evenly 
done by using number nine hundred or number one thousand 
Battenburg thread in a fine needle in the place of ordinary 
thread. If well done, this mending is scarcely noticeable. 



Gloves. 

To be well gloved, contributes very much toward the genteel 
and well dressed appearance of a woman and for this reason, 
unless properly cared for, may become one of the big items of 
expense in a year. Very much of this may be saved, however, 
by careful care and cleaning. With gloves, as with all other 
things, the best way to preserve them, is to care for them prop- 
erly and thus keep them fresh and new looking as long as pos- 
sible without the necessity for cleaning. To do this, when re- 
moving the gloves, in the place of rolling or folding, stretch them 
gently into shape, taking each finger separately and then lay 
them away in a box which is long enough to permit of their being 
laid flat ; otherwise, lay them between papers. 

Immediately upon discovering a hole in a glove, it should be 
mended, as if worn without, it soon loses its shape and no 
amount of mending will then bring it into place. A glove, when 
being mended, should be turned wrong side out and cotton thread 
used in the place of silk, as silk soon cuts the kid. It is a 

—64— 



good plan when a glove gives out, to save the other for patching, 
as, while difficult, it is frequently done, especially in the palm of 
the glove with splendid results. 

There are various ways of cleaning gloves, but the formulas 
found herein have proven most effectual in all cases and are 
therefore recommended for the work according to the directions 
given. One should remember in this connection that the clean- 
ing process will in time injure the best of gloves; they should 
therefore have such ingredients as are used, removed as quickly 
as possible after cleaning. To clean or renovate black kid 
gloves that have become old and rusty, looking: To a teaspoonful 
of olive oil, add a few drops of ink and apply this mixture with 
a soft cloth or brush, afterwards laying in the sun to dry. To 
clean white or light kid gloves, if not too badly soiled, first try 
rubbing them vigorously with corn meal applied with a soft but 
firm cloth. They may, when badly soiled, be very successfully 
cleaned with either turpentine or benzine, washing them carefully 
and afterwards rinsing them in a clean solution of the same. 
They should then be laid in a warm place to extract the fumes. 
Folding within them, when laying away, a little powder of orris- 
root gives them a delicate and pleasing odor. Another, and very 
successful way, is to lay the glove on a piece of white cloth 
which has been folded a number of times. Milk and pure white 
soap is used in this process and is done by rubbing the soap onto 
a flannel cloth which has been dipped into the milk. The rub- 
bing of the glove should be light, but vigorous, and the stroke 
made toward the ends of the fingers. When perfectly clean, 
lay away in the air to dry. Gloves will come out of this process 
soft and elastic. To clean chamois gloves, wash in tepid suds 
made from pure white soap and soft water. It may be necessary 
before perfectly clean.to wash them through two or three waters. 
Squeeze (not wring) out of this and rinse in tepid unblued 
water. During the entire time of drying, they must be rubbed 
between the hands, that they may not become stiff and rough. All 
gloves, except the chamois, may be improved by laying over 
them a clean white paper and pressing with a warm (not hot) 
iron, as too hot an iron will shrink them. 

Silk and thread gloves may, with rarely an exception, be 
successfully cleaned in ordinary suds made from white soap and 
soft water, and then rinsed thoroughly. If they are tight to be- 
gin with, it is best to put them on the hands and wash as though 
washing the hands, leaving them on until nearly dry, afterwards 
pressing with a warm iron. Silk gloves are badly rotted by 
washing; it is therefore necessary when drying, if not done on 



-65- 



the hands, to |)in the fingers out straight on a piece of cloth and 
hang the cloth with wrist down, out in the sun to dry. This 
prevents the water from standing in the ends of the fingers. 

Gloves, especially kid, preserve the whiteness and softness 
of the skin, but are often dispensed with, due to the excessive 
perspiration ; this may be counteracted by sprinkling into the 
glove powdered orris-root. 

A good kid glove may be known by its odor ; the best ones 
having a strong leathery smell. A good one also, when stretched, 
immediately comes back into shape, while a poorer one shows 
more the effect of the stretching. This may be tried on the 
wrist near the edge, without hurting the glove. 



Laces, 

All white laces may be washed in common soap and water, 
rinsed and starched in very thin, cooked starch. If a pure white 
is desired, a little bluing is added to the starch ; if a cream, a 
few teaspoons of clear strained coffee may be added. They may 
be made an ecru by laying for some time in clear, and quite 
strong, coffee. A light, but not a washable color, may be given 
to white laces or ribbons by first washing, rinsing, and then lay- 
ing them in boiled water poured over pieces of crape tissue paper 
of any color desired. Beautiful shades are produced in this way 
and make a very convenient way of carrying out effects for even- 
ing wear. 

Black laces may be made to look like new by brushing them 
carefully to remove every particle of dust; then pinning them 
onto a board, putting a pin into each projecting point, and spong- 
ing thoroughly with stale beer. 

They are allowed to remain on the board until dry, when 
they will be found to hold a rich dressing. A very good lace 
should, after being washed, have its meshes stretched into shape 
with an ivory stiletto or darning needle. 



Silks. 

If uncertain as to the quality of silk, pull out one of the 
filling threads and try it to see if it is strong. There should be 
very little difference in the size of the warp and the filling and 
they should be about equal in strength. Another way, is to rub 
a corner of the silk between the hands as though washing, after- 
wards smoothing out, which, if readily done, shows it to be a 
good quality of silk. 



Hat Bands. 

When a hat band is badly stained with perspiration, try 
sponging it off with a solution made from three-fourths ounce 
of white castile soap to two ounces of alcohol and one-half ounce 
each of sulphuric ether and aqua ammonia. This will do better 
work if applied with a brush. Afterwards, rinse the band well 
with clear rain-water. 



Spots and Stains. 

Experience will teach one a great many things, but a word 
of caution properly heeded may be the means of saving many a 
dollar that would otherwise be foolishly spent. A pad of several 
thicknesses of white muslin should be folded and placed under 
a spot to be removed. It is very necessary that it be white in 
order that no color may be absorbed during the process of clean- 
ing. One should always remember that, due to the difference in 
materials, what would successfully clean one kind of goods, 
might be the means of ruining another. First try the reagent 
to be used in cleaning the garment, on an extra piece of the same 
material, or on the garment itself in an inconspicuous place. If 
one fails to remove a spot with one of the preparations and de- 
sires to try another, the first should be thoroughly rinsed or 
sponged out before attempting the second, as the two might com- 
bine to form a most formidable looking spot that nothing would 
remove. If there is any of the preparation left after cleaning an 
article, it should be placed in a labeled bottle, stating exactly 
what it contains, and be put away for future use. Gasoline or 
benzine, when used alone, may be poured into a can and left 
standing, when the dirt will settle to the bottom, leaving the top 
clear ; this may be poured into another can and saved for future 
use. Gasoline, benzine and turpentine, should be handled with 
great care and should not, under any circumstances be used near 
a fire or open light. This is especially true of gasoline and ben- 
zine. 

Chloroform or alcohol are very good to remove grease from 
most fabrics and while benzine and gasoline may be used, they 
are liable to, and very frequently do, form "rings." Turpentine 
is the most commonly used to remove paint from linens, woolens 
and cotton, but, while removing the grease, it is apt to injure the 
texture when used on silk. Grease may be removed from both 
silks and woolens, by covering the spot thickly with French 
chalk and over this, placing a paper; a hot flatiron is then set 



-67- 



upon this and allowed to cool. It may be necessary to try this 
two or three times before the spot is entirely removed. 

To remove ink from linen, cotton or woolen, sponge with 
milk until all of the ink has been removed, and then take out the 
grease by either ordinary washing, or with benzine. Ink may 
also be removed from woolens by applying a composition con- 
sisting of the white of an egg and a few drops of oil of vitriol, 
which is afterwards sponged out with clean water. If this is 
not effectual, try using warm oxalic acid diluted by a little water. 
Use several applications of this if necessary. If this is to be 
used on woolens, a previous test should be made. 

To remove the spots made by tar, apply sweet oil or lard, 
allowing it to stand about an hour ; several applications may be 
necessary; afterwards, remove the grease. 

Oxalic acid is very good to remove iron rust if applied to 
the spot while the material is being steamed with a hot iron 
over which has been placed a wet cloth. 

To a fruit or wine stain, apply a very little potassium per- 
manganate and afterwards a few drops of sulphurous acid. This 
is a bleach and can be used only on white goods unless a previous 
test be made and the colors found to stand. If the stains are 
still wet, boiling water or milk may be poured through them with 
very good results. A little ammonia may be added to the water 
if necessary. Warm oxalic acid diluted and applied several times 
will remove any ordinary stain on linen or cotton. 

Mildew may be removed by several applications of salt and 
buttermilk, or French chalk, lemon juice, soap and salt made into 
a paste and rubbed over the spots. After each application, the 
mildewed places should be exposed to the rays of the sun and 
allowed to dry. This may be continued several days if necessary. 

Coffee stains may be removed by sponging with water, to 
which has been aded a small quantity of glycerine and ammonia. 

Stains left by the sewing machine may be removed by am- 
monia. 

Colors that have been taken out by acids may be restored 
by ammonia. 

Perspiration stains may be sponged out with a solution made 
from three parts each of ether and alcohol to one of ammonia. 

To set colors in silk, woolen, or cotton, dissolve one table- 
spoon of Ox Gall to one gallon of warm water. 



An excellent solution and one used by nearly all expert 
cleaners, for removing spots and stains, and especially on heavier 
fabrics, is composed of alcohol, one-sixth ounce, glycerine, one- 
fourth ounce, aqua ammonia one ounce, sulphuric ether, one- 
fourth ounce, powdered castile soap one- fourth ounce ; these 
ingredients should be dissolved in enough water to make one 
pint. This may be kept in a well corked bottle to be used at any 
time in cleaning. 

In conclusion, it would be impossible for us, due to the very 
broad field embraced by the millinery work, to be specific in our 
various rules and reagents. We have, however, given all of the 
essentials laid down in the work, which, if carefully studied and 
followed, will form the nucleus which experience alone will 
complete. 




